<script>
  <scene />
  <scene>
    <stage_direction />
    <scene_description>r "BAS.KET CASli:" by Frank Henenlotter © Copyright 1978 by Frank Henenlotter</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PILLSBURY'S OFFICE.</stage_direction>
    <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• 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>
    <character>CUT TO</character>
    <dialogue>CLOSEUP of the medical report as he skims through it.</dialogue>
    <scene_description>The information oa the pages is meallillgless to us since he flips through them · too fast to study. However , there appear to be many xerox reproductions of articals fro■ textbooks and medical jour•als, copious ha.d- written notes ud eve• so■ e photographs we ca.Jlllot ■ake 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 &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>
    <character>VOICE ON PHONE</character>
    <dialogue>Nee,dleman ' s office .</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>PILLSBURY</character>
    <dialogue>Is the doctor in?</dialogue>
    <character>VOICE ON PHONE</character>
    <dialogue>This is his answering service. The doctor isn ' t here,</dialogue>
    <character>PILLSBURY</character>
    <dialogue>Well how can I reach him? You must have another number -- his home phone?</dialogue>
    <character>VOICE ON PHONE</character>
    <dialogue>I'm sorry sir, I don't , Are you a patient?</dialogue>
    <character>PILLSBURY</character>
    <dialogue>No! I'm a colleague of his. Surely there must be some way I can reach him - - ?</dialogue>
    <character>VOICE ON PHONE</character>
    <dialogue>I! you'll leave your name and phone number I ' ll have the doctor call you back . Is this an emergency?</dialogue>
    <character>PILLSBURY</character>
    <dialogue>Yes! Not a medical one but it's imperative the doctor reach me as soon as possible.</dialogue>
    <character>VOICE ON PHONE</character>
    <dialogue>Fine. Now what's your name and number?</dialogue>
    <character>PILLSBURY</character>
    <dialogue>Dr. Julius Pillsbury • •• 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>
    <character>VOICE ON PHONE</character>
    <dialogue>I ' ll give him your message, doctor.</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>EXT. STREET . NIGHT</stage_direction>
    <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>
    <character>VOICE ON PHONE</character>
    <dialogue>Glens Falls Poli ce. Officer Ryan .</dialogue>
    <character>PILLSBURY</character>
    <dialogue>This is Dr. Pillsbury , I waat someone to --</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>EXT. SIDE OF THE HOUSE .</stage_direction>
    <scene_description>Clo~eup of the colUlectio• 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>
    <character>PILLSBURY</character>
    <dialogue>Hello? Hello?</dialogue>
    <parenthetical>(drops the phone)</parenthetical>
    <dialogue>Oh God . • •</dialogue>
    <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& 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>
    <character>PILLSBURY</character>
    <dialogue>Oh no • • • no ...</dialogue>
    <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>
    <character>PILLSBURY</character>
    <parenthetical>(shouting)</parenthetical>
    <dialogue>I've got a gun!</dialogue>
    <scene_description>He bends down , frantically picking bullets off the floor and inserting them into t he gun.• Finished , he holds the gun with both hands and thrusts it in front of him .</scene_description>
    <character>PILLSBURY</character>
    <parenthetical>(sltouting)</parenthetical>
    <dialogue>I ' ll shoot! Get out or I' ll shoot!</dialogue>
    <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·dded . 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¥LINE 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>
  </scene>
  <scene>
    <stage_direction>INT. BUS.</stage_direction>
    <character>INT\_ERCOM</character>
    <dialogue>New York. Last stop. Please remember all your personal belongings and thank you for traveling Greyhound (or whatever busline.)</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. PORT AUTHORITY.</stage_direction>
    <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 ·fold-out map of Manhattan which he clumsily sprawls open across his lap and the seat •ext 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>
    <character>HISPANIC</character>
    <dialogue>Loose joints. Loose joints. Check it out. THC. Black Beauties. Coke. Smoke. Joints and bags. Check it out.</dialogue>
    <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 & GUTS: "THE BABY EATERS"</scene_description>
    <character>CUT TO</character>
    <dialogue>A man aiming a Polariod at a young couple who pose and</dialogue>
    <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>
    <character>CUT TO</character>
    <dialogue>DUANE on the northwe st corner of 42nd, facing, TIMES</dialogue>
    <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>
    <character>CUT TO</character>
    <dialogue>STREET PERSON, staring at DUANE .</dialogue>
    <character>STREET PERSON</character>
    <dialogue>Hey man, what' s in the basket?</dialogue>
    <character>CUT TO</character>
    <dialogue>The animated lights of the Spectracolor sign on tfte Allied</dialogue>
    <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>
    <character>CUT TO</character>
    <dialogue>A dilapidated hotel sign. Not lit but illuminated by</dialogue>
    <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 • .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>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL BROSNAN. LOBBY.</stage_direction>
    <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>
    <character>MANAGER</character>
    <dialogue>Coupl'a hours? Coupl'a years? What? Gimme a hint.</dialogue>
    <character>DUANE</character>
    <dialogue>Oh. A few days.</dialogue>
    <character>MANAGER</character>
    <dialogue>By yourself?</dialogue>
    <character>DUANE</character>
    <dialogue>Yes . Alone . By myself.</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>All alone in this cold cruel world --</dialogue>
    <character>MANAGER</character>
    <dialogue>20 bucks a night. In advance. If you pay by the day it ' s due at noon .</dialogue>
    <parenthetical>(pauses as he looks DUANE over)</parenthetical>
    <dialogue>This is a respectable hotel. I don't want no junkies .</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>He's just a kid. He ain't no junkie.</dialogue>
    <character>DUANE</character>
    <dialogue>I just need a place to stay.</dialogue>
    <character>MANAGER</character>
    <dialogue>What's in the basket?</dialogue>
    <scene_description>(CONTINUED ):</scene_description>
    <character>11�</character>
    <dialogue>CASEY , a hooker, is unlocking the door to her room .</dialogue>
    <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>
    <character>CUT TO</character>
    <dialogue>INT . DUAlfE'S HOTEL ROOM.</dialogue>
    <character>"'</character>
    <dialogue>Though larger thaa expected , orte could wither , mold and rot and be rigAt at ho■e 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>
    <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>
    <character>DUANE</character>
    <dialogue>We're here .</dialogue>
    <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>
    <character>MANAGE;R</character>
    <dialogue>Nothing fancy I hope?</dialogue>
    <character>DUANE</character>
    <dialogue>No. Something f ast . A burger . Piz za.</dialogue>
    <character>MANAGER</character>
    <dialogue>Plenty o! places --</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>There's one right across the street .</dialogue>
    <character>A</character>
    <dialogue>•</dialogue>
    <character>DUANE</character>
    <dialogue>Great? Thanks .</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FAST- FOOD GRILL .</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>Shish kabob, please .</dialogue>
    <character>COOK</character>
    <dialogue>One?</dialogue>
    <character>DUANE</character>
    <dialogue>No •• • um • •• t wenty.</dialogue>
    <character>COOK</character>
    <dialogue>Twenty?!?</dialogue>
    <character>CUT</character>
    <dialogue>51</dialogue>
    <character>TO</character>
    <dialogue>EXT . STREET.</dialogue>
    <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>
    <character>MANAGER</character>
    <dialogue>Are you starving or just excessive?</dialogue>
    <character>DUANE</character>
    <dialogue>Huh?</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>You gonna eat them all by yourself?</dialogue>
    <character>DUANE</character>
    <dialogue>Sure.</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>But -- that ' s disgusting!</dialogue>
    <character>DUANE</character>
    <parenthetical>(to MANAGER)</parenthetical>
    <dialogue>You have a phone book I can borrow? I've got to check some addresses .</dialogue>
    <character>MANAGER</character>
    <dialogue>Is one enough? Or do you want a pile of them too?</dialogue>
    <character>DUANE</character>
    <dialogue>One ' s !ine.</dialogue>
    <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>
    <character>MANAGER</character>
    <dialogue>Just make sure I get it back.</dialogue>
    <character>DUANE</character>
    <parenthetical>(heading up stairs)</parenthetical>
    <dialogue>Sure thing .</dialogue>
    <character>MA.NAGER</character>
    <dialogue>And don't ge t it covered with grease!</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Got ' cha something to eat .</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Take your time. There's plenty.</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Finished already?</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Damn! Kutter's name isn't listed.</dialogue>
    <parenthetical>(slams book shut)</parenthetical>
    <dialogue>Well • •• Needleman must have the number.</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>You ' re not going to pace the floor all night are you?</dialogue>
    <parenthetical>(pause ; no sound)</parenthetical>
    <dialogue>No , I don ' t want to talk now. Go back to sleep.</dialogue>
    <parenthetical>(he lies back down ; still no sound)</parenthetical>
    <dialogue>Aw, c'mon! We gotta get up early,</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Yeah , yeah. We ' ve been through this before .</dialogue>
    <scene_description>He sits back up , wipes his eyes and looks at his watch , lying on the lamp table . CONTINUED:</scene_description>
    <character>DUANE</character>
    <dialogue>Look, I'm not gonna stay up half the night talking. It's 3:30! I'm going back to sleep.</dialogue>
    <parenthetical>(bunches his pillow)</parenthetical>
    <dialogue>I'm not going to debate this! Now goodnight!</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>For Chrissakes shut up! Let me get some sleep!</dialogue>
    <parenthetical>(muttering to himself)</parenthetical>
    <dialogue>Always waits till I'm asleep to start a conversation --</dialogue>
    <character>FADE OUT</character>
    <dialogue>FADE IN</dialogue>
    <scene_description>Manhattan skyline. Daylight. Moniling.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY. HOTEL BROSNAN.</stage_direction>
    <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>
    <character>CASEY</character>
    <dialogue>Oh great!</dialogue>
    <scene_description>He jumps, bangs his forehead against the door and falls on his butt. 63 CONTINUED: 6;</scene_description>
    <character>CASEY</character>
    <dialogue>Last week you were in the dumb waiter. This week it ' s keyholes. Wonderful .</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>Shhhhh! There's some body in there!</dialogue>
    <character>CASEY</character>
    <dialogue>I figured that!</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>A kid! Some young boy - -</dialogue>
    <character>CASEY</character>
    <dialogue>You can ' t be left alone for a minute , can you?</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>You should see! Got a roll of bills on him like this --</dialogue>
    <parenthetical>(motions)</parenthetical>
    <character>CASEY</character>
    <dialogue>Oh gimme a break --</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>Carrying it around with him! Loose in his pocket!</dialogue>
    <character>CASEY</character>
    <dialogue>You got two seconds before I start pounding on his door.</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>No, wait</dialogue>
    <character>CASEY</character>
    <dialogue>One .</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>I ' m going! I 'm going!</dialogue>
    <scene_description>He scrambles to his feet and scurries down the hall . CONTINUED:</scene_description>
    <character>CASEY</character>
    <parenthetical>(muttering to herself as she locks her door)</parenthetical>
    <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>
    <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>
    <character>CASEY</character>
    <dialogue>Hi. I live just across the hall and I -- I didn 't wake you , did I?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>. DUANE</character>
    <dialogue>It's ok . I slept later than I wanted to anyway.</dialogue>
    <character>CASEY</character>
    <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>
    <character>DUANE</character>
    <dialogue>Oh, right. Sure. Thanks.</dialogue>
    <character>CASEY</character>
    <dialogue>I mean, can ' t see you getting ripped off at l east without having a fighting chance .</dialogue>
    <parenthetical>(holds out her hand)</parenthetical>
    <dialogue>Name's Casey .</dialogue>
    <character>DUANE</character>
    <parenthetical>(shaking her hand)</parenthetical>
    <dialogue>Duane Bradley.</dialogue>
    <character>CASEY</character>
    <dialogue>Nice to meet you , Duane Bradley. What the hell you doing in this dump?</dialogue>
    <character>DUANE</character>
    <dialogue>Uh • •• It was the first hotel I came to.</dialogue>
    <character>CASEY</character>
    <dialogue>Obviously a hard man to please. Where you from?</dialogue>
    <character>DUANE</character>
    <dialogue>Upstate .</dialogue>
    <character>CASEY</character>
    <dialogue>First t ime in New York?</dialogue>
    <character>DUANE</character>
    <dialogue>Yeah.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>CASEY</character>
    <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>
    <character>DUANE</character>
    <dialogue>Few days .</dialogue>
    <character>CASEY</character>
    <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>
    <character>DUANE</character>
    <dialogue>Was it true?</dialogue>
    <character>CASEY</character>
    <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>
    <parenthetical>(imitating)</parenthetical>
    <dialogue>' They want to hurt me and steal my</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>What happened to her?</dialogue>
    <character>CASEY</character>
    <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 •round the world. She paid her bill and left. Haven 't heard a word from her since .</dialogue>
    <scene_description>A momentary silence. Then ,</scene_description>
    <character>DUANE</character>
    <dialogue>Wow • • •</dialogue>
    <character>CASEY</character>
    <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>
    <parenthetical>(looks in his room)</parenthetical>
    <dialogue>What 's in the basket? Going on a picnic?</dialogue>
    <character>DUANE</character>
    <dialogue>Picnic? No , no . Haven't the time.</dialogue>
    <character>CASEY</character>
    <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>
    <character>DUANE</character>
    <dialogue>Okay. Sure .</dialogue>
    <character>CASEY</character>
    <dialogue>Catch you later, kid . ' Bye .</dialogue>
    <parenthetical>(heads downstairs)</parenthetical>
  </scene>
  <scene>
    <stage_direction>INT. DUANE'S HOTEL ROOM .</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>Let's go. We gotta pay a visit to a doctor friend of ours.</dialogue>
    <character>DISSOLVE TO</character>
    <dialogue>EXT . W. 18th STREET.</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. LOBBY OP BUILDING .</stage_direction>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. NEEDLEMAN'$ WAITING ROOM .</stage_direction>
    <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>
    <character>MRS . PEARLMAN</character>
    <dialogue>• • • 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>
    <character>SHARON</character>
    <dialogue>That's terrible! Does he know you're allergic?</dialogue>
    <character>MRS . PEARLMAN</character>
    <dialogue>He ought to! This 1s the second time he gave me the wrong prescription!</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SHARON</character>
    <dialogue>Oh my goodness • • •</dialogue>
    <parenthetical>(looks at DUANE)</parenthetical>
    <dialogue>I 'll be right\_wi~h fOU.</dialogue>
    <scene_description>{pointing) It's this typewriter. DUANE looks puzzled. ''Typewri ter 11 ?</scene_description>
    <character>MRS . PEARLMAN</character>
    <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>
    <character>SHARON</character>
    <dialogue>No problem. A patient is in there with him now but as soon as they ' re done, I'll .send you in .</dialogue>
    <character>MRS . PEARLMAN</character>
    <dialogue>Thank you, thank you.</dialogue>
    <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>
    <character>MRS . PEARLMAN</character>
    <dialogue>It was terrible! I thought I was going to die!</dialogue>
    <character>SHARON</character>
    <dialogue>I know , I know.</dialogue>
    <character>MRS . PEARLMAN</character>
    <dialogue>First I got dizzy! Then I couldn ' t breathe! Then my throat felt like it was on fire!</dialogue>
    <character>SHARON</character>
    <dialogue>Well you make sure to tell this all to the doctor.</dialogue>
    <parenthetical>(turns to DUANE)</parenthetical>
    <dialogue>Hi . This is the one --</dialogue>
    <parenthetical>(swi tches on typewriter)</parenthetical>
    <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>
    <parenthetical>(makes appropriate sound effect)</parenthetical>
    <scene_description>CONTINUED: A PATIENT comes out of the doctor ' s office and leaves .</scene_description>
    <character>SHARON</character>
    <dialogue>Goodbye Mr . Clayton.</dialogue>
    <parenthetical>(turns to MRS . PEARLMAN )</parenthetical>
    <dialogue>Ok, Mrs. Pearlman. He's all yours.</dialogue>
    <character>MRS. PEARLMAN</character>
    <dialogue>Oh good !</dialogue>
    <scene_description>As MRS . PEARLMAN hurries into the doct or ' s off ice , SHARON turns to DUANE .</scene_description>
    <character>SHARON</character>
    <dialogue>Okay . Where were we?</dialogue>
    <character>DUANE</character>
    <dialogue>I • • • I don't know anything about typewriters . I just want to see the doctor.</dialogue>
    <character>SHARON</character>
    <parenthetical>(embarrassed)</parenthetical>
    <dialogue>Oh! Oh my goodness! I ' m sorry! I ·just 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>
    <parenthetical>(pointing to basket)</parenthetical>
    <dialogue>I figured that was your toolbox or something.</dialogue>
    <parenthetical>(starts to laugh)</parenthetical>
    <character>DUANE</character>
    <dialogue>I don.' t even know how to type .</dialogue>
    <character>SHARON</character>
    <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>
    <character>DUANE</character>
    <dialogue>Uh. • • I don't have an appointment --</dialogue>
    <character>SHARON</character>
    <dialogue>And you ' ve never been here before or I would've remembered .</dialogue>
    <character>DUANE</character>
    <dialogue>You see, my regular doctor is upstate and I --</dialogue>
    <parenthetical>( 0.0N'l'TNTTF.D)</parenthetical>
    <scene_description>CONTINUED:</scene_description>
    <character>SHARON</character>
    <dialogue>Really! Where?</dialogue>
    <character>DUANE</character>
    <dialogue>Glens Falls.</dialogue>
    <character>SHARON</character>
    <dialogue>Is that near Lake George?</dialogue>
    <character>DUANE</character>
    <dialogue>No . That i s further up.</dialogue>
    <character>SHARON</character>
    <dialogue>I used to go camping up there all the time. My girlfriend and I. Haven ' t had a chance to this year .</dialogue>
    <parenthetical>(lowers voice)</parenthetical>
    <dialogue>So why'd you pick this guy?</dialogue>
    <character>DUANE</character>
    <dialogue>Oh, well, Dr. Needleman's an old friend of the family . Is there any chance I can see him without an appointment?</dialogue>
    <character>SHARON</character>
    <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 • ••</dialogue>
    <parenthetical>(looks through appointment book)</parenthetical>
    <dialogue>• • • and have an appointment for 11:30.</dialogue>
    <parenthetical>(looks at her watch)</parenthetical>
    <dialogue>Oh my goodness! You ' re next .</dialogue>
    <character>DUANE</character>
    <parenthetical>(smiling at her)</parenthetical>
    <dialogue>Thanks .</dialogue>
    <character>SHARON</character>
    <parenthetical>(writing on index card)</parenthetical>
    <dialogue>What ' s your name?</dialogue>
    <character>DUANE</character>
    <dialogue>Duane Bradley.</dialogue>
    <parenthetical>(catches himself)</parenthetical>
    <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>
    <character>71</character>
    <dialogue>SHARON</dialogue>
    <character>CONTINUED:</character>
    <dialogue>He ' ll appreciate this . He's a million laughs .</dialogue>
    <parenthetical>(hands card to DUANE)</parenthetical>
    <dialogue>And you fill out the rest.</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>What's in the basket? Easter eggs?</dialogue>
    <scene_description>DUANE smiles but doesn ' t answer.</scene_description>
    <character>SHARON</character>
    <dialogue>Just visiting New York or -- ?</dialogue>
    <character>DUANE</character>
    <dialogue>Yeah . Thi s is my first time .</dialogue>
    <character>SHARON</character>
    <dialogue>So have you gone to t he Empire State Building yet? And the Statue of Liberty?</dialogue>
    <character>DUANE</character>
    <dialogue>No . I haven ' t had the time .</dialogue>
    <character>SHARON</character>
    <parenthetical>(incredulous)</parenthetical>
    <dialogue>Haven I t had 'the time 1 ? !</dialogue>
    <parenthetical>(loud; seemingly upset)</parenthetical>
    <dialogue>Well what about Radio City Music</dialogue>
    <scene_description>• Hall? Or the UN? Had time for them?</scene_description>
    <character>DUANE</character>
    <dialogue>(very startled; doesn ' t know if she ' s kidding or not) ·</dialogue>
    <scene_description>No . • • I . • • I • • •</scene_description>
    <character>SHARON ~</character>
    <dialogue>What about the World Trade Towers? Or the Met?</dialogue>
    <character>DUANE</character>
    <dialogue>It's not that I don't want to but --</dialogue>
    <character>SHARON</character>
    <dialogue>Any museums? The Cloisters? Chinatown?</dialogue>
    <character>DUANE</character>
    <dialogue>Actually , I • • • I don ' t know where anything is .</dialogue>
    <scene_description>CONTINUED: A wide grin bursts across SHARON 1 s face. It's obvious she'd been putting him on.</scene_description>
    <character>SHARON</character>
    <dialogue>Well, if you need a tour guide , I'd be happy to volunteer.</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>We'll even buy you some 3-D postcards and an "I Love New York" T-shirt.</dialogue>
    <scene_description>MRS . PEARLMAN exits from the doctor 's office.</scene_description>
    <character>SHARON</character>
    <parenthetical>(staring at DUANE)</parenthetical>
    <dialogue>You' re next .</dialogue>
    <scene_description>DUANE picks up the basket and enters NEEDLEMAN's office . CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NEEDLEMAN'$ OFFICE.</stage_direction>
    <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>
    <character>NEEDLMAN</character>
    <dialogue>. Come in, Mis ter, uh • • •</dialogue>
    <scene_description>DUANE tosses him the index card.</scene_description>
    <character>DUANE</character>
    <dialogue>Smith.</dialogue>
    <character>NEEDLMAN</character>
    <parenthetical>( glancing up)</parenthetical>
    <dialogue>Smith. Right.</dialogue>
    <parenthetical>(resumes paperwork)</parenthetical>
    <dialogue>All right, Mr. Smith, what's the problem?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>NEEDLEMAN</character>
    <dialogue>Cough.</dialogue>
    <parenthetical>( DUANE coughs)</parenthetical>
    <dialogue>Did that hurt?</dialogue>
    <character>DUANE</character>
    <dialogue>No.</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>Turn around, please.</dialogue>
    <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>
    <character>NEEDLEMAN</character>
    <dialogue>Breathe in.</dialogue>
    <scene_description>{pause) That hurt?</scene_description>
    <character>DUANE</character>
    <dialogue>Nope .</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>Again.</dialogue>
    <parenthetical>(moves stethescope)</parenthetical>
    <dialogue>Again.</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>I thought you ' d realize. It hurts here --</dialogue>
    <parenthetical>(touching the scar)</parenthetical>
    <dialogue>-- down the side of my chest.</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>But? -- How long have you had this?</dialogue>
    <character>DUANE</character>
    <dialogue>Since I was 12.</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>And it still hurts?</dialogue>
    <character>DUANE</character>
    <dialogue>Everytime I look at it .</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>NEEDLEMAN</character>
    <dialogue>I mean physically. It ' s thick scar tissue. It isn ' t raw . There should be no pain.</dialogue>
    <character>DUANE</character>
    <dialogue>There is. Plenty.</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>How did you get it?</dialogue>
    <character>DUANE</character>
    <dialogue>I cut myself shaving.</dialogue>
    <scene_description>DUANE smirks -- not at the joke as much as how uncomfortable NEEDLEMAN is becoming.</scene_description>
    <character>DUANE</character>
    <dialogue>No, actually it's from some surgery.</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>What kind of surgery?</dialogue>
    <character>DUANE</character>
    <dialogue>Illegal surgery.</dialogue>
    <character>NEEDLEMAN</character>
    <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>
    <character>DUANE</character>
    <dialogue>But he's upstate. In Glens Falls .</dialogue>
    <scene_description>NEEDLEMAN's head jerks. suddenly , his eyes fixing with DUANE ' s .</scene_description>
    <character>DUANE</character>
    <dialogue>Oh! You .lcnow Glens Falls?</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>No! Never heard of it.</dialogue>
    <character>DUANE</character>
    <dialogue>You've been there?</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>No! Never!</dialogue>
    <character>DUANE</character>
    <dialogue>You really should visit . It ' s so pretty and peaceful up there. That ' s where I had the operation.</dialogue>
    <scene_description>(CONTINED): CONTINUED:</scene_description>
    <character>NEEDLEMAN</character>
    <dialogue>Then why come here? What do you expect me to do? Where ' s your family doctor?</dialogue>
    <character>DUANE</character>
    <dialogue>He's dead . Pillsbury's dead.</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>Pillsbury?</dialogue>
    <character>DUANE</character>
    <dialogue>Very tragic . No one's exactly sure how it happened . Didn ' t you hear?</dialogue>
    <character>NEEDLRMAN</character>
    <dialogue>I -- I don't know a Dr. Pil lsbury.</dialogue>
    <character>DUANE</character>
    <dialogue>You don't? Are you sure?</dialogue>
    <character>NEEDLEMAN</character>
    <parenthetical>(loud ; upset)</parenthetical>
    <dialogue>Ot course I'm sure! I don ' t know any Dr . Pillsbury and I ' ve never been to Glens Falls!</dialogue>
    <character>DUANE</character>
    <dialogue>But he said you specialized in cases like mine .</dialogue>
    <character>NEEDLEMAN</character>
    <dialogue>Well he's wrong! You're wrong! I ' m not a surgeon -- there's nothing I can do for you!</dialogue>
    <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>
    <character>DUANE</character>
    <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 •• •</dialogue>
    <scene_description>CONTINUED: NEEDLEMAN looks up at DUANE.</scene_description>
    <character>DUANE</character>
    <dialogue>He didn't just die. He was cut in half!</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>Imagine that! The town doctor getting cut in half. \·low. And in a place like Glens Fal ls.</dialogue>
    <character>CUT TO</character>
    <dialogue>CLOSEUP DR . NEEDLEMAN, sweat pouring off him. He glances</dialogue>
    <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>
    <character>NEEDLEMAN</character>
    <dialogue>Good day, Mister •• • uh</dialogue>
    <character>DUANE</character>
    <dialogue>Jones . Mr. Jones.</dialogue>
    <scene_description>DUANE picks up the basket and walks out . CUT TO 0LOSEUP , a deeply disturbed NEEDLEMAN . Hold . INT . WAITING ROOM .</scene_description>
    <character>SHARON</character>
    <dialogue>So what'd he give you? 48 hours to live?</dialogue>
    <character>DUANE</character>
    <dialogue>Naw. We just had a nice chat.</dialogue>
    <character>SHARON</character>
    <dialogue>Was he surprised?</dialogue>
    <character>DUANE</character>
    <dialogue>Oh yeah. Very.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SHARON</character>
    <dialogue>Anyway, getting back to what we were talking about before I get off here tonight at six.</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>Hint , hint.</dialogue>
    <character>DUANE</character>
    <dialogue>Oh - - I'd like to but - - not tonight. I can't .</dialogue>
    <character>SHARON</character>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>Can' t say I didn ' t try .</dialogue>
    <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>
    <character>DUANE</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>May I call you tomorrow?</dialogue>
    <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>
    <character>DUANE</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Where do you live?</dialogue>
    <character>SHA.RON</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>I'll write it down.</dialogue>
    <parenthetical>(writing)</parenthetical>
    <dialogue>355 West 71st stree t. All the way at the end of the block.</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>Why are we whispering?</dialogue>
    <character>·DUANE</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>I don't want him to hear .</dialogue>
    <character>SHARON</character>
    <parenthetical>(normal voice)</parenthetical>
    <dialogue>Who? The doctor?</dialogue>
    <character>DUANE</character>
    <parenthetical>(still whispering)</parenthetical>
    <dialogue>I'll see you .</dialogue>
    <character>80 CONTINUED: 80</character>
    <dialogue>DUANE takes the paper with her address, scampers back to the basket, picks it up and leaves . CUT TO</dialogue>
    <character>81 INT . NEEDLEMAN'S OFFICE. 81</character>
    <dialogue>-</dialogue>
    <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>
    <scene_description>82 THE MEMO. After the heading i•ANSWERING 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• No ~swer . As it conti nues ringing, we DISSOLVE TO</scene_description>
    <character>84 INT . MOVIE THEATER. BALCONY. 84</character>
    <dialogue>Practically empty. DUANE impassively watches the film , the basket on the sea~ next to hi■• CUT TO</dialogue>
    <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>
    <character>CUT TO</character>
    <dialogue>84D CLOSEUP DUANE , his eyes closed, hi,s head slowly nodding. 84D</dialogue>
    <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>
    <character>DUANE</character>
    <parenthetical>(soothingly)</parenthetical>
    <dialogue>Not now. Not yet. Save it. Save it •• •</dialogue>
    <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>
    <character>S~RON</character>
    <dialogue>You leaving now or should I not lock up?</dialogue>
    <character>NEEDLEMAN</character>
    <parenthetical>(hanging up phone)</parenthetical>
    <dialogue>No • • • No , I ' ll be a while . But lock up . Lock up anyway.</dialogue>
    <character>SHARON</character>
    <dialogue>Okay. See you Thursday.</dialogue>
    <scene_description>NEEDLEMAN doesn't answer . He redials the number . CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET. NIGHT</stage_direction>
    <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>
  </scene>
  <scene>
    <stage_direction>EXT. NEEDLEMAN'S BUILDING .</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>He didn't come out . He's still in there.</dialogue>
    <parenthetical>(straightens up)</parenthetical>
    <dialogue>Okay . We ' ll wait .</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. KUTTER'S PENTHOUSE APARTMENT.</stage_direction>
    <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>
    <character>WOMAN</character>
    <dialogue>C'mon! Have some more!</dialogue>
    <character>MAN</character>
    <dialogue>No! Really! I 've had enough!</dialogue>
    <character>WOMAN</character>
    <parenthetical>( laughing)</parenthetical>
    <dialogue>Nonsense ! We're just beginning.</dialogue>
    <character>MAN</character>
    <dialogue>Listen , i f I have any more - -</dialogue>
    <character>WOMAN</character>
    <dialogue>That 's all right. I likeyou drunk . You're cute when you slobber .</dialogue>
    <scene_description>THE PHONE rings.</scene_description>
    <character>WOMAN</character>
    <dialogue>Shit . Excuse me for a minute, love .</dialogue>
    <scene_description>SHE throws down her napkin, walks acro ss the room and answers the phone .</scene_description>
    <character>WOMAN</character>
    <dialogue>Dr . Kutter speaking.</dialogue>
    <parenthetical>( This is the first we learn that Dr. Kutter is female . )</parenthetical>
    <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>
    <character>CUT TO</character>
    <dialogue>KUTTER</dialogue>
    <dialogue>Harold , you ' re beginning to ramble.</dialogue>
    <character>97L</character>
    <dialogue>Why not get to the point.</dialogue>
    <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 · 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>
    <character>KUTTER</character>
    <dialogue>Sorry about that, Cuddles . Now , where were we?</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. LOBBY OF NEEDLEMAN ' S BUILDING .</stage_direction>
    <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 • • • 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>
    <character>DUANE</character>
    <parenthetical>(in a whisper)</parenthetical>
    <dialogue>Don't forget his address book .</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. NEEDLEMAN'S OFFICE .</stage_direction>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. WAITING ROOM .</stage_direction>
    <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 •~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 • • • 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■ 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•g room and stops short , realizi•g that he's barricaded himself in . Nevertheless , he lunges at the furniture blocking the door, frantically pulli•g 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• 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 • . 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•ed, his face too bloody, to do anythi ng ■ore 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>
  </scene>
  <scene>
    <stage_direction>INT. NEEDLEMAN'S OFFICE.</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>Did you get his address book?</dialogue>
    <scene_description>The CREATURE tosses him the book. DUANE flips through it .</scene_description>
    <character>DUANE</character>
    <dialogue>Great! Kutter ' s listed ! He ' s got her address . We ' re in luck .</dialogue>
    <scene_description>CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET.</stage_direction>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. DUANE'S HOTEL ROOM.</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>I brought you some goodies.</dialogue>
    <scene_description>From the grocery bag , he takes out three packages of frankfurters - uncooked.</scene_description>
    <character>DUANE</character>
    <dialogue>First , some breakfast.</dialogue>
    <scene_description>He tears open the cellophane and dumps the raw hot dogs into the basket . The ravenous eating sounds start.</scene_description>
    <character>DUANE</character>
    <dialogue>I also got you a surprise. Don ' t look till I'm ready.</dialogue>
    <scene_description>As he opens the cardboard box, he turns his back on us so we cannot see what he ' s unpacking .</scene_description>
    <character>DUANE</character>
    <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>
    <scene_description>He steps aside and we see a tiny black & white te'levision set. He turns the basket on its side so the opening !aces the TV .</scene_description>
    <character>DUANE</character>
    <dialogue>Ta-Da!</dialogue>
    <scene_description>He plugs it in and turns it on, flipping the channels to a game show .</scene_description>
    <character>DUANE</character>
    <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>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. BROWNSTONE HALLWAY.</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>Hi. • •</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>I gotta get these shoes off . My feet are killing me!</dialogue>
    <scene_description>SHARON plops on a bench overlooking the water, removes her shoes and massages her feet .</scene_description>
    <character>SHARON</character>
    <dialogue>That was a rare thrill . Everytime the wind ble w, I thought it was going to collapse.</dialogue>
    <parenthetical>(DUANE laughs)</parenthetical>
    <dialogue>Well , we ' ve been u p the Worl d Trade Tower and climbed the Green Lady . Where to now?</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>Mad?</dialogue>
    <parenthetical>(laughs)</parenthetical>
    <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>
    <character>DUANE</character>
    <dialogue>I thought you wanted to - -</dialogue>
    <character>SHARON</character>
    <parenthetical>(affectionately)</parenthetical>
    <dialogue>You dummy</dialogue>
    <parenthetical>(pulls him down on the bench next to her)</parenthetical>
    <dialogue>I suggested we tour the city for the same reason you went along with it. I wanted to be with you too .</dialogue>
    <character>DUANE</character>
    <dialogue>You did?</dialogue>
    <character>SHARON</character>
    <dialogue>Duane --</dialogue>
    <parenthetical>(shaking her head)</parenthetical>
    <dialogue>I know an awful lot of guys, Duane , but you ' re truly unique. Don ' t they have girls upstate?</dialogue>
    <character>DUANE</character>
    <parenthetical>(embarrassed)</parenthetical>
    <dialogue>Well I • • • I keep pretty much to myself. I don't really have many friends.</dialogue>
    <character>SHARON</character>
    <dialogue>You ' re a dying breed , Duane.</dialogue>
    <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 • • • 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>Ulls away from SHARON as if a blinding pain shot through him. His face is contorted.</scene_description>
    <character>SHARON</character>
    <dialogue>What is it? What ' s the matter?</dialogue>
    <character>DUANE</character>
    <dialogue>Oh God! Something 's wrong!</dialogue>
    <scene_description>He stands, clutching his head with both hands .</scene_description>
    <character>SHARON</character>
    <dialogue>Duane , are you alrignt?</dialogue>
    <scene_description>38 CONTINUED : 138</scene_description>
    <character>DUANE</character>
    <dialogue>Something's happening! I gotta get back fast!</dialogue>
    <scene_description>He turns away and runs toward the ferry.</scene_description>
    <character>SHARON</character>
    <dialogue>Duane, wait!</dialogue>
    <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>
    <character>MR . BOJARSKI</character>
    <parenthetical>(to MANAGER)</parenthetical>
    <dialogue>I'm trying to do some writing but the guy in the room next to m~ine is going wild</dialogue>
    <character>MANAGER</character>
    <dialogue>Yeah. I hear, I hear .</dialogue>
    <scene_description>The MANAGER g rabs the pass key and all three head up the stairs .</scene_description>
    <character>MR . BOJARSKI</character>
    <dialogue>He 's going berserk! Sounds like he's throwing :furniture against the walls. And screaming his lungs out --</dialogue>
    <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>
    <character>ELDERLY WOMAN</character>
    <parenthetical>(sees MANAGER and points to DUANE ' S room)</parenthetical>
    <dialogue>In there! In tnere!</dialogue>
    <scene_description>The MANAGER pounds on DUANE ' s door .</scene_description>
    <character>MANAGER</character>
    <dialogue>Open up! Hey! Open up! f T,..\_..,..\_..,.,-r.t.T'\ \</dialogue>
    <scene_description>CONTINUED: With the pass key, the MANAGER unlocks the door and throws it open. CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DUANE ' S HOTEL ROOM.</stage_direction>
    <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>
    <character>MANAGER</character>
    <dialogue>There ' s no one here .. .</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>Where's the kid?</dialogue>
    <character>MANAGER</character>
    <dialogue>He went out early this morning .</dialogue>
    <character>MR. BOJARSKI</character>
    <parenthetical>(from doorway)</parenthetical>
    <dialogue>I could've sworn i t came from here.</dialogue>
    <scene_description>The MANAGER looks down at the broken TV, then opens closet . It ' s empty except for a couple of shirts.</scene_description>
    <character>MANAGER</character>
    <dialogue>Well • •• whatever the hell it was, it ' s gone now.</dialogue>
    <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>
    <character>MANAGER</character>
    <dialogue>Okay , c'mon. Out!</dialogue>
    <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>
    <character>MANAGER</character>
    <dialogue>Okay, everybody. It's all over . Whatever it was, it stopped. It ' s gone. Now let's clear the hall --</dialogue>
    <scene_description>The TENANTS disperse as the MANAGER locks DUANE ' s room , then turns to MR. BOJARSKI.</scene_description>
    <character>MANAGER</character>
    <dialogue>You sure it came from there?</dialogue>
    <character>MR. BOJARSKI</character>
    <dialogue>I thought so , but -- I don ' t know.</dialogue>
    <character>MANAGER</character>
    <dialogue>Well, if i t happens again -- I don ' t know either. C'mon Lou .</dialogue>
    <character>DIRTY LOU</character>
    <dialogue>Naw. You go ahead . I'm goin' upstairs and lie down a while .</dialogue>
    <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>
    <character>MR. BOJARSKI</character>
    <dialogue>Up there!</dialogue>
    <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 ·ro</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DIRTY LOU'S ROOM .</stage_direction>
    <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>
    <character>SHARON</character>
    <dialogue>Duane , will you wait a minute</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DU.ANE</character>
    <dialogue>I can ' t! Don't follow me!</dialogue>
    <parenthetical>(he tugs away)</parenthetical>
    <character>SHARON</character>
    <dialogue>What's wrong with you? I only want to help</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Oh God! I knew it! I knew it!</dialogue>
    <character>SHARON</character>
    <dialogue>Duane , will you calm down?</dialogue>
    <scene_description>DUA.NE runs to the door of the hotel where CASEY is among the crowd .</scene_description>
    <character>DUANE</character>
    <parenthetical>(to CASEY)</parenthetical>
    <dialogue>What happened?</dialogue>
    <character>CASEY</character>
    <dialogue>Someone killed Dirty Lou . Ripped him to pieces. They just took him away . The cops have been grilling everyone .</dialogue>
    <character>SHARON</character>
    <dialogue>Duane, I</dialogue>
    <character>DUANE</character>
    <parenthetical>(facing SHARON)</parenthetical>
    <dialogue>You can' t come in here!</dialogue>
    <character>SHARON</character>
    <dialogue>Stop it , Duane!</dialogue>
    <character>DUANE</character>
    <dialogue>I'm telling you it ' s dangerous!</dialogue>
    <character>SHARON</character>
    <dialogue>You ' re acting like an idiot!</dialogue>
    <scene_description>;5 CONTINUED : 155 He grabs her by the arm and pulls her away from the hotel.</scene_description>
    <character>DUANE</character>
    <dialogue>You heard what she said - - he was killed !</dialogue>
    <character>SHARON</character>
    <dialogue>You're not making sense. There ' re police inside who --</dialogue>
    <character>DUANE</character>
    <dialogue>I don't want it killing you!</dialogue>
    <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>
    <character>DETECTIVE</character>
    <parenthetical>(to MR . BOJARSKI)</parenthetical>
    <dialogue>Thanks. You' ve been very helpful. We 'll probably have more questions at a later time .</dialogue>
    <character>MR. BO.TAHSKI</character>
    <dialogue>No problem.</dialogue>
    <scene_description>As MR . BOJARSKI closes his door , the DETECTIVE sees DUANE --</scene_description>
    <character>DETECTIVE</character>
    <dialogue>Would you hold it for a minute?</dialogue>
    <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>
    <character>DETECTIVE</character>
    <dialogue>You live here?</dialogue>
    <character>DUANE</character>
    <dialogue>Yes .</dialogue>
    <character>DETECTI VE</character>
    <dialogue>What's your name?</dialogue>
    <character>DUANE</character>
    <dialogue>Duane Bradley .</dialogue>
    <scene_description>i6 CONTINUED: 156</scene_description>
    <character>DETECTIVE</character>
    <dialogue>How long have you been out, Duane?</dialogue>
    <character>DUANE</character>
    <dialogue>Since this morning.</dialogue>
    <character>DETECTIVE</character>
    <dialogue>Do you have any pets -- any animals in there?</dialogue>
    <character>DUANE</character>
    <dialogue>No. Nothing . Why?</dialogue>
    <character>DETECTIVE</character>
    <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>
    <character>DUANE</character>
    <dialogue>No.</dialogue>
    <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>
    <character>DETEC1'IVE</character>
    <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>
    <character>DUANE</character>
    <dialogue>No. I don't know. I was out.</dialogue>
    <scene_description>The DETECTIVE glances down at the shattered TV.</scene_description>
    <character>DETECTIVE</character>
    <dialogue>What happened?</dialogue>
    <parenthetical>( /"!ON'l'TNTTRn)</parenthetical>
    <scene_description>CONTINUED:</scene_description>
    <character>DUANE</character>
    <parenthetical>(surprised to see it shattered)</parenthetical>
    <dialogue>Uh • •• that was an accident. It happened last night.</dialogue>
    <character>DETECTIVE</character>
    <dialogue>And you don ' t own a dog or anything?</dialogue>
    <character>DUANE</character>
    <dialogue>No .</dialogue>
    <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>
    <character>DETECTIVE</character>
    <dialogue>Where are you from , Duane?</dialogue>
    <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>
    <character>DUANE</character>
    <parenthetical>(stammering)</parenthetical>
    <dialogue>I'm , uh • • • from upstate • • • Glens Falls, upstate .</dialogue>
    <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>
    <character>DETECTIVE</character>
    <dialogue>You always leave your money lying around like this?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DUANE</character>
    <dialogue>Huh?</dialogue>
    <parenthetical>(he looks down)</parenthetical>
    <scene_description>CUT TO The DETECTIVE picks up the wad of bills DIRTY LOU must have dropped.</scene_description>
    <character>DUANE (OVER)</character>
    <dialogue>It must ' ve fallen off the dresser</dialogue>
    <scene_description>CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BATHROOM.</stage_direction>
    <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>
    <character>DETECTIVE</character>
    <dialogue>And you've been out all day?</dialogue>
    <character>DUANE</character>
    <dialogue>Yes. Since around nine.</dialogue>
    <character>DETECTIVE</character>
    <dialogue>Alone or -- ?</dialogue>
    <character>DUANE</character>
    <parenthetical>(watching COP)</parenthetical>
    <dialogue>No. With someone.</dialogue>
    <scene_description>CUT TO The COP walks to the closet and opens i t. Nothing in there but DUANE ' s shirts .</scene_description>
    <character>DETECTIVE (OVER)</character>
    <dialogue>If y,o u had to prove where you'd been and who you were with, would you be able to?</dialogue>
    <character>DUANE (OVER)</character>
    <dialogue>Sure.</dialogue>
    <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 •• •</scene_description>
    <character>DETECTIVE</character>
    <dialogue>How long are you going to be staying A here? W</dialogue>
    <character>DUANE (OVER)</character>
    <dialogue>Few more days.</dialogue>
    <character>DETECTIVE</character>
    <dialogue>If I want to come back and look around again , would that be alrignt?</dialogue>
    <character>DUANE (OVER)</character>
    <dialogue>Sure .</dialogue>
    <scene_description>CUT TO The COP comes over to the DETECTIVE and shrugs - - he can't find anything wrong , either .</scene_description>
    <character>DETECTIVE</character>
    <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>
    <character>DUANE</character>
    <dialogue>Yeah. Okay.</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Are you crazy?!? You could ' ve had us a r rested ! ! !</dialogue>
    <scene_description>As before , only a one- sided "conversation" takes place .</scene_description>
    <character>DUANE</character>
    <dialogue>No, no! Don ' t blame this on me! I didn ' t know he'd break in --</dialogue>
    <parenthetical>(stammering)</parenthetical>
    <dialogue>What? - - Wait a minute! -- Hold it! I -- Alright! Alright!</dialogue>
    <scene_description>DUANE covers his ears , leans against the bathroom wall and slumps to t he floor.</scene_description>
    <character>DUANE</character>
    <parenthetical>(defeat ed)</parenthetical>
    <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>
    <parenthetical>(pause)</parenthetical>
    <dialogue>I knew if I told you you'd get mad.</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>We didn ' t do anything . She just showed me around . That ' s all .</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>I ' m not deserting you . I just wanted some time for myself .</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Look I've he·lped 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>
    <parenthetical>(pause)</parenthetical>
    <dialogue>I ' m not saying that! I --</dialogue>
    <parenthetical>(pause)</parenthetical>
    <scene_description>'2 CONTINUED: 172</scene_description>
    <character>DUANE</character>
    <parenthetical>(continuing)</parenthetical>
    <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>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>We'll always be together.</dialogue>
    <scene_description>Hold on DUANE . Then DI SSOLVE TO</scene_description>
  </scene>
  <scene>
    <stage_direction>'3 INT. BAR. 173</stage_direction>
    <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>
    <character>CASEY</character>
    <dialogue>What the hell're you doing here? No -- don't tell me. It was the first bar you came to .</dialogue>
    <scene_description>DUANE looks up at her and smiles . He's crocked.</scene_description>
    <character>DUANE</character>
    <dialogue>Hi , Casey.</dialogue>
    <character>CASEY</character>
    <dialogue>Oh, baby, are you plastered! What'cha drinking?</dialogue>
    <character>DUANE</character>
    <dialogue>Li ghter fluid,</dialogue>
    <parenthetical>(makes a sour expression)</parenthetical>
    <character>CASEY</character>
    <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>
    <character>DUANE</character>
    <dialogue>I don 't even drink.</dialogue>
    <scene_description>CONTINUED :</scene_description>
    <character>CASEY</character>
    <dialogue>'l'hat's obvious . You're not still upset about this afternoon are you?</dialogue>
    <character>DUANE</character>
    <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>
    <character>CASEY</character>
    <dialogue>She the one you were pushing away this afternoon?</dialogue>
    <character>DUANE</character>
    <parenthetical>(putting his hands to his head)</parenthetical>
    <dialogue>Yeah • • •</dialogue>
    <character>CASEY</character>
    <dialogue>Looked to me like you overreacted a bit, huh?</dialogue>
    <character>DUANE</character>
    <dialogue>But I couldn't let her in! I didn ' t want her to leave but she couldn't come in! ••. • Oh, I don't know. -- I ' m not malcing any sense . I don't even know what I'm talking about.</dialogue>
    <character>CASEY</character>
    <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>
    <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>
    <character>CASEY</character>
    <dialogue>• • • 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>
    <scene_description>174 CONTINUED: 1' The two collapse with laughter , DUANE pounding the table .</scene_description>
    <character>CASEY</character>
    <parenthetical>(catching her br eath)</parenthetical>
    <dialogue>So tell me, what do you do in Glens Falls?</dialogue>
    <character>DUANE</character>
    <dialogue>I ' m a sorter.</dialogue>
    <character>CASEY</character>
    <dialogue>A sort ' a what?</dialogue>
    <character>DUANE</character>
    <dialogue>No -- a letter sorter . I sort mail .</dialogue>
    <character>CASEY</character>
    <dialogue>i mailmaz;i? ! Hahahahahahaha!</dialogue>
    <character>DUANE</character>
    <dialogue>Hahahahahahahahahahahaha!</dialogue>
    <character>CASEY</character>
    <dialogue>Oh , that ' s great! Hey , I got something else I ' m just dying to ask you --</dialogue>
    <scene_description>Deliberately acting mysterious , she looks around to make sure no one's listening , then leans forward to DUANE.</scene_description>
    <character>CASEY</character>
    <dialogue>What ' s in the basket?</dialogue>
    <character>DUANE</character>
    <parenthetical>(leaning toward her)</parenthetical>
    <dialogue>My brother.</dialogue>
    <character>CASEY</character>
    <dialogue>Your brother? ! Hahahahahahaha!</dialogue>
    <character>DUANE</character>
    <dialogue>Hahahahahahahahahahahaha !</dialogue>
    <character>CASEY</character>
    <dialogue>What •is he? A midget?</dialogue>
    <character>DUANE</character>
    <dialogue>No , no! We're twins!</dialogue>
    <character>CASEY</character>
    <dialogue>Hahahahahahahahahahahaha !</dialogue>
    <character>DUANE</character>
    <dialogue>Siamese twins! Hahahahahahahaha!</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>CASEY</character>
    <dialogue>That's funny, you don't look - -</dialogue>
    <character>DUANE &</character>
    <dialogue>CASEY</dialogue>
    <parenthetical>(together)</parenthetical>
    <dialogue>oriental! Hahahahahahaha!</dialogue>
    <character>CASEY</character>
    <dialogue>So what happened? Somebody shrink him?</dialogue>
    <character>DUANE</character>
    <dialogue>No , he'·s deformed! Hahahahahaha!</dialogue>
    <scene_description>CASEY doesn't crack up this time. "Deformed" is not exactly a side- splitting pune.hline .</scene_description>
    <character>DUANE</character>
    <dialogue>A freak! He looks like a squashed octopus! Hahahahahahaha!</dialogue>
    <character>CASEY</character>
    <parenthetical>(staring at him)</parenthetical>
    <dialogue>Baby, are you weird.</dialogue>
    <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 • • •</scene_description>
    <character>DUANE</character>
    <parenthetical>(rapidly)</parenthetical>
    <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>
    <parenthetical>(he leans toward CASEY and motions to the basket)</parenthetical>
    <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>
    <scene_description>CASEY shakes her head . She ' s afraid to interrupt .</scene_description>
    <character>DUANE</character>
    <dialogue>He talks to me up here</dialogue>
    <scene_description>DUANE taps his head. 175 CONTINUED:</scene_description>
    <character>DUANE</character>
    <parenthetical>(continuing)</parenthetical>
    <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>
    <parenthetical>(pats basket)</parenthetical>
    <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>
    <character>CASEY</character>
    <parenthetical>(cautiously)</parenthetical>
    <dialogue>Duane, you're giving me the creeps .</dialogue>
    <character>DUANE</character>
    <dialogue>They didn ' t want him to live. But he fooled them. He didn ' t die. He just got stronger .</dialogue>
    <parenthetical>(covers his face; inceherently)</parenthetical>
    <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>
    <scene_description>He slumps forward, his head hitting the table.</scene_description>
    <character>CASEY</character>
    <parenthetical>(shaking him)</parenthetical>
    <dialogue>Duane? Duane?</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. BRADLEY HOME . NURSERY.</stage_direction>
    <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>
    <character>FATHER</character>
    <parenthetical>(loud; emotional)</parenthetical>
    <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>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. BRADLEY HOME. PARLOR.</stage_direction>
    <scene_description>The AUNT is speaking with a SOCIAL WORKER, also a woman, over cups of tea. The AUNT looks extremely uneasy.</scene_description>
    <character>SOCIAL WORKER</character>
    <dialogue>The boy is how old now? Twelve?</dialogue>
    <character>AUNT</character>
    <dialogue>You mean boys. There.!!:! two of them .</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>Boys .</dialogue>
    <scene_description>{pause) Yes , of course.</scene_description>
    <character>AUNT</character>
    <dialogue>{gesturing)</dialogue>
    <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>
    <character>FATHER</character>
    <parenthetical>(loud; emotional)</parenthetical>
    <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>
    <parenthetical>(shouting at bassinet)</parenthetical>
    <dialogue>It killed its own mother! You want a name for it? How about 'Assassin'? Or ' Murderer ' ? Or ' Deformity ' ? Or --</dialogue>
    <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>
    <character>SOCIAL WORKER</character>
    <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>
    <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>
    <character>AUNT</character>
    <dialogue>I think we should discuss this downstairs</dialogue>
    <scene_description>She turns t he SOCIAL WORK.ER around and guides her down the hall. 1 DISSOLVE TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY OF BRADLEY HOME .</stage_direction>
    <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>
    <character>FATHER</character>
    <parenthetical>(to NEEDLEMAN a.pd KUTTER)</parenthetical>
    <dialogue>• • • 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. ·</dialogue>
    <character>PILLSBURY</character>
    <parenthetical>(interrupting)</parenthetical>
    <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>
    <character>NEEDLEMAN</character>
    <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>
    <scene_description>182 CONTINUED:</scene_description>
    <character>FATHER</character>
    <dialogue>It's better off dead! What kind of life will it have the way it is?</dialogue>
    <character>PILLSBURY</character>
    <dialogue>We' re not going to murder your child for you.</dialogue>
    <character>FATHER</character>
    <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>
    <character>KUTTER</character>
    <dialogue>He's right, of course. The boy should at least have a chance at a nor mal life .</dialogue>
    <character>PILLSBURY</character>
    <dialogue>But if we just cut into it</dialogue>
    <character>KUTTER</character>
    <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>
    <character>PILLSBURY</character>
    <dialogue>Allld the other one? What if it dies?</dialogue>
    <character>KUTTER</character>
    <dialogue>Doctor, I ' m not even sure it's human .</dialogue>
    <parenthetical>(to the FATHER)</parenthetical>
    <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>
    <scene_description>DISSOLVE TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM .</stage_direction>
    <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>
    <character>FATHER</character>
    <dialogue>Hol d still Duane! Da111111it! Hold still!</dialogue>
    <scene_description>CUT TO 183A A needle i njected into the struggling CREATURE. 183A</scene_description>
    <character>CUT TO</character>
    <dialogue>183B DUANE's eyes roll aRd close. 183B</dialogue>
    <character>,.\_CUT TO</character>
    <dialogue>183C PILLSBURY and FATHER tying the CREATURE to the table. 183C</dialogue>
    <character>CUT TO</character>
    <dialogue>l83D KUTTER preparing the coDl'l.ecting tissue. 183D</dialogue>
    <character>CUT TO</character>
    <dialogue>183E lfEEDLEMAN placillg an oxygen mask over DUAlfE's mouth. 18}E</dialogue>
    <character>CUT TO</character>
    <dialogue>183.F KUTTER raises aealpel and cuts into connecting tissue. 183F</dialogue>
    <character>CUT TO</character>
    <dialogue>183G CREATURE wakes and screams. 183G</dialogue>
    <character>KOTTER</character>
    <dialogue>Hold it still!</dialogue>
    <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>
    <character>CUT TO</character>
    <dialogue>183I CREATURE's mouth open and gasping. 183I</dialogue>
    <character>PILLSBURY</character>
    <dialogue>Something's wrong!</dialogue>
    <scene_description>PILLSBURY raises CREATURE's arm, trying to !ind pulse. CUT TO 183J Scalpel continues to cut the connecting tissue. 183J</scene_description>
    <character>CUT TO</character>
    <dialogue>183K PILLSBURY holding CREATURE's limp arm. 183K</dialogue>
    <character>PILLSBURY</character>
    <dialogue>There's no pulse! I can't find the pulse!</dialogue>
    <character>CUT TO</character>
    <dialogue>Blood flows down DUANE ' s side.</dialogue>
    <scene_description>183M CLOSEUP PILLSBURY. 183M</scene_description>
    <character>PILLSBURY</character>
    <dialogue>( It ' s dead ! CUT TO 183N Scalpel severs the remaining connecting tissue. 183N CUT TO 1830 CLOSEUP PILLSBURY, 1830 PI LLSBURY</dialogue>
    <scene_description>Did you hear me?! I t' s dead !! !</scene_description>
    <character>CUT TO</character>
    <dialogue>183P Blood flows f rom DUANE's side, He opens his eyes ; they 183P</dialogue>
    <scene_description>roll to the top of his head . Camera blurs out of focus . DISSOLVE TO</scene_description>
    <character>184 INT, YOUNG DUANE'S ROOM. 184</character>
    <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>
    <character>YOUNG DUANE</character>
    <dialogue>Y~s , I can hear you .</dialogue>
    <parenthetical>(pause; no sound)</parenthetical>
    <dialogue>I understand . Where are you?</dialogue>
    <parenthetical>(pause ; no sound)</parenthetical>
    <dialogue>I ' m coming.</dialogue>
    <scene_description>He climbs out of bed . DISSOLVE TO</scene_description>
    <character>185 EXT. BACK YARD. NIGHT 185</character>
    <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>
    <character>YOUNG DUANE</character>
    <dialogue>Belial? --</dialogue>
    <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 • 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>
    <character>FATHER</character>
    <dialogue>Who ' s down there? Duane? Is that you?</dialogue>
    <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>
    <character>FATHER</character>
    <dialogue>Duane? You down here?</dialogue>
    <scene_description>He walks slowly toward the workbench , looking for DUANE among the maze of furniture and boxes .</scene_description>
    <character>FATHER</character>
    <dialogue>You 're not supposed to be out of bed . What are you doing down here?</dialogue>
    <scene_description>He stops in front of a large electrical table saw.</scene_description>
    <character>FATHER</character>
    <parenthetical>(looking a r ound)</parenthetical>
    <dialogue>Duane? Answer me!</dialogue>
    <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>
    <character>FATHER</character>
    <parenthetical>(startled)</parenthetical>
    <dialogue>Duane?</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. YOUNG DUANE'S ROOM.</stage_direction>
    <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>
    <character>AUNT</character>
    <dialogue>Duane? It ' s okay. The police have left . Everyone is gone .</dialogue>
    <parenthetical>(pause)</parenthetical>
    <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>
    <parenthetical>(pause)</parenthetical>
    <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>
    <parenthetical>(pause)</parenthetical>
    <dialogue>Both you boys needn't hide any longer. I ' m here to take care of you . Both of you .</dialogue>
    <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·. 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>
    <character>AUNT</character>
    <dialogue>Art thou afraid?</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>No , monster , not I .</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>Be not afraid. The isle is full of</dialogue>
    <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 , · I cried to dream again. The AUNT looks down. Cuddled in her arms is the CREATURE . DISSOLVE TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AUNT ' S ROOM .</stage_direction>
    <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>
    <character>PILLSBURY</character>
    <dialogue>There's nothing more anyone can do. I'm sorry. Slre · was a good woman.</dialogue>
    <scene_description>DUANE covers his face sobbing. PILLSBURY puts his arm on DUANE ' a shoulder, trying to comfort him .</scene_description>
    <character>PILLSBURY</character>
    <dialogue>Will you be all right? Is there anyone you can stay with?</dialogue>
    <scene_description>DUANE pulls away from the doctor . CONTINUED:</scene_description>
    <character>DUANE</character>
    <dialogue>We'll be fine. We don't need anybody.</dialogue>
    <character>PILLSBURY</character>
    <dialogue>'We'?</dialogue>
    <character>DUANE</character>
    <dialogue>Yeah. Me and my brother.</dialogue>
    <character>PILLSBURY -</character>
    <dialogue>Duane , I realize how upset you are. This must be a terrible shock for you.</dialogue>
    <character>. DUANE</character>
    <dialogue>You think I ' m kidding? Well he ain't dead. He never was. You thought you killed him but you didn't.</dialogue>
    <character>PILLSBURY</character>
    <dialogue>Let me give you something to help calm you down --</dialogue>
    <character>DUANE</character>
    <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>
    <character>PILLSBURY</character>
    <dialogue>I think I ' d better go --</dialogue>
    <character>DUANE</character>
    <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>
    <parenthetical>(breaks down sobbing)</parenthetical>
    <scene_description>FADE OUT. (END OF FLASHBACK SEQUENCE) FADE IN</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY. THIRD FLOOR. HOTEL BROSNAN.</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>I'm okay. I'm okay.</dialogue>
    <character>CASEY</character>
    <dialogue>Let me have your key.</dialogue>
    <character>DUANE</character>
    <dialogue>No , no. I can do it . I'm alright.</dialogue>
    <character>CASEY</character>
    <dialogue>You sure?</dialogue>
    <character>DUANE</character>
    <dialogue>Hundred percent .</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. DUANE ' S HOTEL ROOM .</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>Almost forgot him .</dialogue>
    <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 •• • 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 • •• 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>
    <character>,.</character>
    <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>
    <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 • .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>
    <character>--., MANAGER</character>
    <dialogue>Alright , alright. Easy now, Calm down.</dialogue>
    <character>CASEY ,</character>
    <parenthetical>(stammering)</parenthetical>
    <dialogue>In my room -- something's in my room -- on ·the bed</dialogue>
    <character>' MANAGER</character>
    <dialogue>Easy, Casey , easy.</dialogue>
    <scene_description>The MANAGER motions for one of the tenants to hold her as he enters her room . CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CASEY ' S ROOM .</stage_direction>
    <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>
    <character>MANAGER</character>
    <dialogue>It's gone now, Casey . Everything's okay •</dialogue>
    <scene_description>�: CONTINUED :</scene_description>
    <character>CASEY</character>
    <parenthetical>(sobbing)</parenthetical>
    <dialogue>I -- I don ' t want to go back in there .</dialogue>
    <character>MANAGER</character>
    <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>
    <parenthetical>(to the TENANTS)</parenthetical>
    <dialogue>The rest of you go back to bed!</dialogue>
    <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>
    <character>MANAGER</character>
    <dialogue>Okay , now. Just lie down. You 'll be safe in here .</dialogue>
    <scene_description>CASEY lies on his bed. He covers her with the sheet.</scene_description>
    <character>. MANAGER</character>
    <dialogue>I'll even leave the light on . Okay? Now go to aieep.</dialogue>
    <scene_description>He closes the door to the room and leans on the check- in desk.</scene_description>
    <character>MANAGER</character>
    <dialogue>This ain ' t a hotel . It ' s a nuthouse!</dialogue>
    <scene_description>DISSOLVE TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DUANE'S HOTEL ROOM.</stage_direction>
    <scene_description>Camera dollies in on the basket , still sitting ·on 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>
    <character>FADE IN</character>
    <dialogue>'.12 MANHATTAN skyline. Morning. 212</dialogue>
  </scene>
  <scene>
    <stage_direction>'13 INT. DUANE'S HOTEL ROOM. 213</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>Wake up. Let's get this over with .</dialogue>
    <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>
    <character>MANAGER</character>
    <dialogue>Hey, Bradley. You -had a call this morning. A girl named Sharon.</dialogue>
    <scene_description>r DUANE Sharon? Uh, okay. Thanks.</scene_description>
    <character>MANAGER</character>
    <dialogue>Up early t oday , aren't you?</dialogue>
    <character>DUANE</character>
    <parenthetical>(nodding to basket)</parenthetical>
    <dialogue>Yeah , well, I've got to do the laundry.</dialogue>
    <character>MANAGER</character>
    <dialogue>Didn't you hear the coD1111otion last night?</dialogue>
    <character>DUANE</character>
    <dialogue>Huh? What commotion?</dialogue>
    <character>MANAGER</character>
    <dialogue>Casey screaming.</dialogue>
    <parenthetical>(pause; watches DUANE for his reaction)</parenthetical>
    <dialogue>She saw something in her room .</dialogue>
    <scene_description>For a moment there is almost panic on DUANE' .s face. CONTINUED :</scene_description>
    <character>DUANE</character>
    <dialogue>What was it?</dialogue>
    <character>MAN·AGER</character>
    <dialogue>I don't know. Maybe she was dreaming. I 'm just surpri sed all the screaming didn ' t wake you up .</dialogue>
    <character>DUANE</character>
    <dialogue>I had so much to drink l ast night, I was sound asleep. I don't even remember coming home.</dialogue>
    <character>MANAGER</character>
    <dialogue>Casey helped you.</dialogue>
    <character>DUANE</character>
    <dialogue>Where is she now?</dialogue>
    <character>MANAGER</character>
    <dialogue>In my room asl eep .</dialogue>
    <scene_description>DUANE l ooks upset . His mi nd is so fogged about last night , he ·.doesn ' t want to consider the obvious. He beads toward the front door.</scene_description>
    <character>MANAGER</character>
    <parenthetical>(calling to him)</parenthetical>
    <dialogue>Sharon said to call her back.</dialogue>
    <character>DUANE</character>
    <dialogue>Huh? Oh, yeah. Okay. Thanks.</dialogue>
    <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>
    <character>DOORMAN</character>
    <dialogue>Morning , doctor.</dialogue>
    <scene_description>She smiles but doesn' t answer. CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET .</stage_direction>
    <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>
    <character>DUANE</character>
    <dialogue>She just left.</dialogue>
    <scene_description>17 5TH AVENUE. 217 KUTTER walks along the avenue unaware of DUANE's presence as he ~ollows her. CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MEDICAL BUILDING.</stage_direction>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. LOBBY OF MEDICAL BUILDING .</stage_direction>
    <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>
    <character>JUDITH, VETERINARIAN".</character>
    <dialogue>CUT TO</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>She's a veterinarian! We were cut apart by an animal doctor !</dialogue>
  </scene>
  <scene>
    <stage_direction>'.22 INT. KUTTER'S WAITING ROOM. 222</stage_direction>
    <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>
    <character>NURSE</character>
    <dialogue>Mr. White?</dialogue>
    <scene_description>DUANE rises. CONTINUED:</scene_description>
    <character>NURSE</character>
    <parenthetical>(pointing)</parenthetical>
    <dialogue>The door at the end o! the hallway.</dialogue>
    <scene_description>CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EXAMINATION ROOM .</stage_direction>
    <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>
    <character>KUTTER</character>
    <dialogue>So. Tell me about your cat. You said on the phone he ' s badly cut.</dialogue>
    <character>DUANE</character>
    <dialogue>Yes. On his side.</dialogue>
    <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>
    <character>KUTTER</character>
    <dialogue>Let's take a look at him .</dialogue>
    <scene_description>DUANE leans his arm across the lid, preventing her from opening it.</scene_description>
    <character>DUANE</character>
    <dialogue>Only it ' s not a cat.</dialogue>
    <character>KUTTER</character>
    <dialogue>Oh? I thought you said</dialogue>
    <character>DUANE</character>
    <dialogue>And I think I should explain how he got his cut before you see him.</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>Another vet -- a Dr. Pillsbury operated on him upstate . Unsuccessfully.</dialogue>
    <character>KUTTER</character>
    <dialogue>A Dr. Pillsbury you say?</dialogue>
    <character>DUANE</character>
    <dialogue>Yee . You know him?</dialogue>
    <scene_description>?23 CO.ITilfUED: 223</scene_description>
    <character>!CUTTER</character>
    <parenthetical>(not the least bit intimidated)</parenthetical>
    <dialogue>Ah yes! -- I see. I'm beginlling to understa.ad aow. You're that kid Needleaaa warned me about . The Bradley boy.</dialogue>
    <scene_description>{pause) The freak we separated. It's DUA:tra who's - intimidated. He turns a bright red.</scene_description>
    <character>KUTTER</character>
    <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>
    <character>DUANE</character>
    <parenthetical>(incredulously)</parenthetical>
    <dialogue>To tha.ak you!?!</dialogue>
    <character>KUTTER</character>
    <dialogue>Well, after all, I made you nor11al, dida't I?</dialogue>
    <character>DUA.IJE</character>
    <dialogue>You did it to kill my brother! Like a paid assassin!</dialogue>
    <character>KUTTER</character>
    <dialogue>Oh dear. Hostility.</dialogue>
    <parenthetical>(slams her fist on table)</parenthetical>
    <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>
    <character>DUANE</character>
    <dialogue>You bastard --</dialogue>
    <character>KUTTER</character>
    <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>
    <scene_description>She stops short and looks at the basket.</scene_description>
    <character>( COKTI.IUED)</character>
    <dialogue>CONTilWED:</dialogue>
    <character>KUTTER</character>
    <dialogue>What's in the basket?</dialogue>
    <character>DUANE</character>
    <parenthetical>(still reacting)</parenthetical>
    <dialogue>You despicable, iahuman monster</dialogue>
    <character>KUTTER</character>
    <dialogue>You haven't brought me aay pet.</dialogue>
    <scene_description>-She keeps looking back and !orth !rom DUANE to the basket .</scene_description>
    <character>KUTTER</character>
    <dialogue>What have you got in there . --</dialogue>
    <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■ashing 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 ■outll , 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>
    <character>NURSE</character>
    <dialogue>Dr. Kutter, what's wroag? Ope• up! Dr. Kutter? Hello? Can you hear ae?</dialogue>
    <scene_description>CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EXAMIKATIOK ROOM .</stage_direction>
    <scene_description>KUTTER studs, slightly staggering, but with her back to us. Th• 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·o ■ with a set of keys. CUT TO DUANE, raising the basket and e-xiting from another door i• the back of the room. CUT TO The exaai•atioa roo• 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>
  </scene>
  <scene>
    <stage_direction>EXT. 8TH AVENUE.</stage_direction>
    <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•ly reason SHARON doesn't throw her arms around DUANE when she gets to him is because he's holding the basket out i• front of him. As it is, she presses agaiast it, ud looks as if she's been crying.</scene_description>
    <character>SHARON</character>
    <dialogue>Oh, God, Duane. Something awful 's happened .</dialogue>
    <character>DUANE</character>
    <dialogue>What? Tell me --</dialogue>
    <character>SHARON</character>
    <dialogue>I've been with the police all morning.</dialogue>
    <parenthetical>( COlfTIIruED)</parenthetical>
    <scene_description>242 CONTINUED:</scene_description>
    <character>DUANE</character>
    <dialogue>The police? !</dialogue>
    <character>SHARON</character>
    <dialogue>Dr . Ne~dleman's been murdered. They found his body sometime last night.</dialogue>
    <character>DUANE</character>
    <dialogue>They don ' t think that you ?</dialogue>
    <character>SHARON</character>
    <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>
    <character>CUT TO</character>
    <dialogue>243 SHARON ' s breasts pressing against the basket . 24:</dialogue>
    <character>SHARON (OVER)</character>
    <dialogue>I need to be with someone . I don ' t want to be alone .</dialogue>
    <character>CUT TO</character>
    <dialogue>244 CLOSEUP SHARON , her eyes filling with tears.</dialogue>
    <character>SHARON</character>
    <dialogue>I want to be with you , Duane.</dialogue>
    <parenthetical>(fighting back the tears)</parenthetical>
    <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>
    <parenthetical>(st~rts to cry)</parenthetical>
    <dialogue>24 5 DUANE can ' t deal with her cryi ng . He doesn't know what 241</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Don ' t - - don ' t cry. It ' s okay . Real ly. It ' s all r ight now. Come up . C'mon upstairs .</dialogue>
    <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>
    <character>SHARON</character>
    <parenthetical>(sniffing)</parenthetical>
    <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>
    <scene_description>DUANE looks at her from across the other side of the room .</scene_description>
    <character>SHARON</character>
    <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>
    <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>
    <character>SHARON</character>
    <parenthetical>(between kisses)</parenthetical>
    <dialogue>I love you , Duane.</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>Don't stop</dialogue>
    <character>CUT</character>
    <dialogue>!55</dialogue>
    <character>TO</character>
    <dialogue>THE BASKET . Another split second closeup .</dialogue>
    <character>CUT</character>
    <dialogue>156</dialogue>
    <character>TO</character>
    <dialogue>DUANE rises up, straddling SHARON. He looks down at her .</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>Take me . Take me , Duane .</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>Oh my God! What's that?!</dialogue>
    <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>
    <character>SHARON</character>
    <dialogue>Duane , let me up!</dialogue>
    <scene_description>CUT TO ?60 THE BASKET . The CREATURE ' s head sticks out of ·it , its 260 mouth open wide and screaming . Both its twisted arms reach outstretched toward ·the 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>
    <character>SHARON</character>
    <parenthetical>(screaming)</parenthetical>
    <dialogue>Stop! What 're you doing? I can't see!!</dialogue>
    <scene_description>She continues to fi•ght 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>
    <character>SHARON</character>
    <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>
    <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>
    <character>SHARON</character>
    <dialogue>Duane! Open up! What ' s happening in there? What 's wrong with you?</dialogue>
    <scene_description>CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DUANE'S HOTEL ROOM .</stage_direction>
    <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>
    <character>OONTINUED;</character>
    <dialogue>DUANE</dialogue>
    <character>266</character>
    <parenthetical>( to CREATURE)</parenthetical>
    <dialogue>What are you trying to do to me?</dialogue>
    <character>SHARON (OVER)</character>
    <dialogue>Duane! Open the door! Talk to me!</dialogue>
    <character>DUANE</character>
    <parenthetical>(shouting to her)</parenthetical>
    <dialogue>Go away! It won ' t work!</dialogue>
    <character>SHARON (OVER)</character>
    <dialogue>Are you all right? Open the door and let me in!</dialogue>
    <character>DUANE</character>
    <parenthetical>(shouting)</parenthetical>
    <dialogue>No! Go away! Leave me· alone! It won't work! It'll never work!</dialogue>
    <scene_description>DUANE punches the basket , repeatedly beating it. DUAifE (to CREATURE) Damn you! God damn you!</scene_description>
    <character>SHARON (OVER)</character>
    <dialogue>Duane?! Duane?!</dialogue>
    <scene_description>DUANE slinks to the floor sobbing . The CREATURE remains 267 silent in the ~asket as DUANE pounds on the ~loor.</scene_description>
    <character>DUANE</character>
    <dialogue>Damn you! Damn you! Damn y.ou !</dialogue>
    <character>SHARON (OVER)</character>
    <dialogue>Duane! Duane!</dialogue>
    <scene_description>Covering his •faee 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>
    <character>CABBIE</character>
    <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>
    <scene_description>, ( CONTINUED): CONTINUED : Suddenly,. the CABBIE does a double take as he looks out the windshield.</scene_description>
    <character>CABBIE</character>
    <dialogue>Holy shit!!! What was that?!!!</dialogue>
    <scene_description>The taxi screeches to a halt as the CABBIE and t he PASSENGER both stare out the side window.</scene_description>
    <character>CABBIE</character>
    <dialogue>What the hell? Did you see that?! Did you see that thing?!!</dialogue>
    <character>PASSENGER</character>
    <dialogue>What? I didn ' t --</dialogue>
    <character>CABBIE</character>
    <dialogue>Ran right acro ss the road! Never seen anything like it! Scared the hell outta me!</dialogue>
    <scene_description>A car horn honks behind them .</scene_description>
    <character>CABBIE</character>
    <parenthetical>(now looking out back window)</parenthetical>
    <dialogue>Aw shut up·!</dialogue>
    <scene_description>Horn honks again and CABBIE leans out the window.</scene_description>
    <character>CABBIE</character>
    <dialogue>Go on! Blow it out yer ass!</dialogue>
    <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>
  </scene>
  <scene>
    <stage_direction>EXT. TENAMENT. NIGHT</stage_direction>
    <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 ·rushes to the window. {CONTINUED): CONTINUED:</scene_description>
    <character>WOMAN</character>
    <parenthetical>(strong Spani sh accent)</parenthetical>
    <dialogue>Hey! Get outta here you --</dialogue>
    <scene_description>She sees the CREATURE (out of camera range) and goes into hysteric13.</scene_description>
    <character>WOMAN</character>
    <dialogue>Yaaaaaah! Ay Dios mio! Mira! Ven aqua! Afuera! Ay algo alli! Mira! Mira!</dialogue>
    <scene_description>A MAN who obviously jus t woke up stumbles to the window and looks out.</scene_description>
    <character>MAN</character>
    <dialogue>What?</dialogue>
    <character>WOMAN</character>
    <dialogue>Mira! Mira! Lo ve?</dialogue>
    <character>MAN</character>
    <dialogue>It's a garbage can! It fell! Now shut up!</dialogue>
    <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>
    <character>WOMAN</character>
    <parenthetical>(incoherently)</parenthetical>
    <dialogue>Something ' s over there! Some kind of animal! This horrible thing with one eye and - - ran right in front of me --</dialogue>
    <scene_description>CONTINUED : They run to the edge of the dock and look into the darkness as the camera pans away fro·m 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>
  </scene>
  <scene>
    <stage_direction>INT. DUANE ' S HOTEL ROOM .</stage_direction>
    <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>
  </scene>
  <scene>
    <stage_direction>INT. SHARON ' S BEDROOM .</stage_direction>
    <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>
    <character>DUANE</character>
    <parenthetical>(screaming)</parenthetical>
    <dialogue>How could you?!</dialogue>
    <parenthetical>(beats tne basket)</parenthetical>
    <dialogue>No ! Never ! Never again!</dialogue>
    <parenthetical>(the basket almost yanks f.rom his hands)</parenthetical>
    <dialogue>She was pure! She was good ! She wasn't one of them!</dialogue>
    <parenthetical>(punches the basket)</parenthetical>
    <dialogue>You ' re finished! You ' re not getting loose again !</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>Why her? Because I wanted her? Because she wanted me? What's -wrong with you?</dialogue>
    <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>
    <character>DUANE</character>
    <dialogue>No! I ' ll never let you! No way!</dialogue>
    <character>MANAGER</character>
    <dialogue>What the hell -- ?</dialogue>
    <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>
    <character>DUANE</character>
    <parenthetical>(top of his lungs)</parenthetical>
    <dialogue>No! I won ' t hear it ! Just 'cau se you can ' t doesn ' t mean I shouldn ' t ! No! No!</dialogue>
    <scene_description>He throws the basket on the bed and continues beating it .</scene_description>
    <character>DUANE</character>
    <dialogue>Damn you! God damn you to hell!</dialogue>
    <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>
    <character>CASEY</character>
    <dialogue>Duane? Duane? Are you all right?</dialogue>
    <scene_description>CUT TO</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DUANE'S ROOM .</stage_direction>
    <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>
    <character>DUANE</character>
    <parenthetical>(top of his lungs)</parenthetical>
    <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>
    <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>
    <character>CASEY</character>
    <dialogue>Duane, what's - -</dialogue>
    <character>DUANE</character>
    <parenthetical>(screaming at them)</parenthetical>
    <dialogue>Get out of here!!!</dialogue>
    <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 • 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 • e eaaera</scene_description>
    <character>---</character>
    <dialogue>S12 The flickering , buzzing " HOTEL BROSNAN" sign . It ' s 312 A</dialogue>
    <scene_description>last three neon letters smashed , the sign now reads "HOTEL BROS". FADE OUT</scene_description>
  </scene>
</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.