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Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

philanthropic

How many times the word 'philanthropic' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

van

How many times the word 'van' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

releases

How many times the word 'releases' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

evidence

How many times the word 'evidence' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

flame

How many times the word 'flame' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

him

How many times the word 'him' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

hovers

How many times the word 'hovers' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

man

How many times the word 'man' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

farms

How many times the word 'farms' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

come

How many times the word 'come' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

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How many times the word 'your' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

onto

How many times the word 'onto' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

faster

How many times the word 'faster' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

decadent

How many times the word 'decadent' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

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How many times the word 'lest' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

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Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

ideals

How many times the word 'ideals' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

lack

How many times the word 'lack' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

town

How many times the word 'town' appears in the text?

Cars 2 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CARS 2 WRITTEN BY BEN QUEEN A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragil !? He calls Francesco fragil ? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches

indiana

How many times the word 'indiana' appears in the text?

Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

glares

How many times the word 'glares' appears in the text?

Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

presidential

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

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Cecil B. Demented Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS CECIL B. DEMENTED Written by John Waters Fourth Draft: 1 June 1998 1. Film opens with beautiful shot of the skyline of downtown Baltimore in the spring. Credits begin. Cut to "The Hippodrome Theater," one-time downtown movie palace, now abandoned and boarded up with broken and blank marquee. The credits to our movie continue by fading in on marquee. Cut to thriving "Harbor Court" theaters, downtown chain. All six marquees list the same two mega-budget Hollywood hits. Hollywood titles fade out and "Cecil B. DeMented" title logo fades into marquee in all its terrorist glory. Cut to old "Towson Theater." A "FOR RENT" sign is on marquee of this one-time neighborhood theater. "FOR RENT" sign fades out and our credits fade in on marquee. Cut to "Towson Commons," a modern cineplex down the street. All the titles listed on marquee are sequels. Sequel titles fade out and our credits fade in on marquee. Cut to "5 West Theater," one-time art house. The marquee now announces "Sunday Church Service" which fades out and our credits continue, fading in. Cut to "Westview Mall," suburban multiplex, all the titles listed on marquee are recent Hollywood comedy bombs. The Hollywood titles fade out and our credits fade in. Cut to "New Theater," once a popular downtown premiere spot. The marquee reads C-L-O-S-E-D in badly spaced letters. The letters fade out and our credits fade in. 2. Cut to wide shot of EXTERIOR SENATOR THEATER, 2. Baltimore's landmark art-deco movie palace. Marquee READS: GALA WORLD PREMIERE BENEFIT MARYLAND HEART FUND HONEY WHITLOCK IN "SOME KIND OF HAPPINESS" Marquee letters fade out and our credits fade in. Cut to blocks of cement out front of the theater similar to Grauman's Chinese Theater in Los Angeles. Each displays the logo of a film title that was shot on location in Baltimore and premiered at this theater; "Diner," "The Accidental Tourist," "And Justice For 3 All." Our credits are intercut in the cement blocks as the camera pans across this local tourist attraction. Cut to SINCLAIR STEVENS, the handsome but intense 20-year-old theater manager as he adjusts the final letter of the film's title on the marquee, perched atop a ladder. SINCLAIR is dressed in an obviously rented tuxedo and for a moment seems like any other middle class suburban kid. ROY STILLINGS, the tuxedoed fifty-year-old theater owner, shouts instructions from below as CATERERS, DECORATORS and PUBLICITY PEOPLE rush in an out of theater preparing for tonight's event. He is surrounded by several of his young staff - DINAH, the sourpussed but unconventionally striking cashier; CHARDONNAY, the African-American ticket-taker with a huge 90's hairdo so popular with the black girls in Baltimore; RAVEN, the happy and always smiling pretty usherette, and FIDGET, the dweebish but somehow sexy janitor. All have made an attempt to dress up their usual uniforms for the premiere. MR. STILLINGS A little more to the right, Sinclair. SINCLAIR (Moving the final "S" IN "HAPPINESS") That better, Mr. Stillings? Title on marquee fades out and "Produced by..." credit fades in. MR. STILLINGS (SQUINTING) Yeah, that's good. (STILL UNSATISFIED) But try moving the "K" in "Whitlock." A little to the left. SINCLAIR (Following his boss's instructions, the "Some Kind Of Happiness" title back on the marquee) Have you met her yet? MR. STILLINGS Not yet. But don't worry, Sinclair, I'll introduce you! SINCLAIR You promise? SINCLAIR smiles sneakily to himself as "Some Kind Of Happiness" logo fades out on marquee and "Written and Directed by John Waters" credit fades in. SINCLAIR (EVILLY) I'm a bg fan! End of credits. 3. Cut to EXTERIOR HARBOR COURT, luxury downtownhotel. 3. Movie fans of all ages, clutch 8x10's of Honey Whitlock and eagerly await her departure. 4. INTERIOR "PRESIDENTIAL SUITE" OF HARBOR COURT HOTEL. 4. HONEY WHITLOCK turns from beautiful Inner Harbor view outside hotel window and we see she is about forty years old and a complete knockout. HONEY Ah, what a town! HONEY is dressed for the premiere in an elegant evening gown and her black hair is cut perfectly in the Louise Brooks style that has become her signature. She continues her press conference under the watchful eyes of her press agent CHARLES and her long-time assistant LIBBY, both of whom are also dressed for the premiere. ROOM SERVICE employees stand by, ready to serve. HONEY I tell everybody in Hollywood, when you shoot on location in Baltimore, you don't need to bring all the crew from Los Angeles. Baltimore really ia the best!... 5. Cut back to INTERIOR LOBBY OF SENATOR THEATER. 5. MR. STILLINGS lectures his other staff members as CATERERS and BARTENDERS set up behind him. SINCLAIR STEVENS is paying close attention as is LYLE, the projectionist, a handsome but surprisingly gaunt young man. CHERISH, a sexy and slightly nasty candy-counter girl leers at SINCLAIR who flirts back as she feigns interest in MR. STILLINGS' pep talk. PAM the popcorn girl, a masculine but beautiful nineteen year old with a seemingly bad attitude and LEWIS, the young cool African-American usher with a chip on his shoulder join FIDGET, RAVEN and DINAH. 5 MR. STILLINGS and remember, Miss Whitlock is every inch a movie star and expects to be on stage at exactly 7:10pm to ensure live coverage from all three local news shows. By the way, I hear she's really a nice person... 6. INTERIOR HONEY'S HOTEL ROOM. 6. HONEY's mean face glares out window at the twinkling lights of Baltimore's Inner Harbor in the early evening. HONEY Look at this dump of a town! HONEY turns to her long suffering assistant, LIBBY. The press is gone and they are alone. HONEY Get me the fuck back to L.A. If one more asshole mentions a crab cake to me, I think I'll puke. LIBBY (Trying to be positive) Did you try the steamed crabs? They're red and... HONEY No I didn't! I'm not interested in any kind of meal you have to beat with a mallet... A knock is heard at hotel door. HONEY (SUDDENLY NICE) Just a minute... (Muttering to herself as LIBBY goes to answer door) .wearing some stupid kind of bib while families of mutants gawk in my face ...No thank you! CHARLES, the press agent enters. CHARLES Your limousine is here, Miss Whitlock. You look beautiful. HONEY (Back to being gracious) Thank you Charles, darling. We'll be right with you. I'm excited. CHARLES exits. HONEY (Back to her nasty self) Do you think Pat Nixon got fucked in this hotel room? LIBBY (STUPEFIED) Well ...I don't know...I mean... HONEY It's called the "Presidential Suite" isn't it? LIBBY Yes...but... HONEY I BET SHE DID! Call the manager and ask him! LIBBY (HORRIFIED) I can't ask that. . .Pat Nixon was a stroke victim... HONEY It's your to ask, Libby! Call downstairs and find out if Pat Nixon got fucked in my hotel room! I want to know! 7. EXTERIOR SENATOR THEATER. 7. Large crowd of fans and gawkers let out a roar of approval as the klieg lights are switched on by WORKMAN and the night sky is lit up by the criss-crossing beams of light. 8. INTERIOR HALLWAY OF HARBOR COURT HOTEL. 8. HONEY WHITLOCK, looking incredibly glamorous, is being led downstairs by CHARLES, the press agent and RODNEY, a young biker-type bodyguard assigned to her for the night by the theater. He wears an ill-fitting polyester suit and an earphone. LIBBY hurries to catch up with them. 7 LIBBY (Reading from notes) The hotel manager said "No." Pat Nixon never stayed here, but Nancy Reagen did in 1986... HONEY (AMAZED) You didn't actually ask him? LIBBY (CONFUSED) You said to call downstairs... HONEY (APPALLED) You asked the hotel manager if Pat Nixon had sex in my room? LIBBY Well. . .sort of. I mean you told me... HONEY I was kidding Libby. He must think you're a complete lunatic! Good God, you'd do anything! A HOTEL MAID pushing a cart of towels and bathroom supplies comes around a corner and is completely star-struck. MAID Good luck, Miss Whitlock! HONEY's face freezes in horror as elevator doors open and she is led inside. 9. INTERIOR ELEVATOR. 9. Several well-dressed hotel guests recognize HONEY and are thrilled. HONEY (In a sudden tirade) Did you hear what that little bitch said to me? LIBBY She didn't know. HONEY In show business we say "break a leg." NEVER fucking "Good Luck"! 8 HOTEL GUESTS frown in disappointment at HONEY's language. LIBBY (TO HONEY) That's just an old superstition. CHARLES (NERVOUSLY) Miss Whitlock, there's photo cps with the mayor in the lobby... HONEY That cocksucker put a curse on my whole fucking premiere! HOTEL GUESTS let out a cry of shock at HONEY's language. 10. INTERIOR HOTEL LOBBY. 10. MAYOR FENWICK, the middle aged African American mayor waits with the PRESS. HONEY steps off the elevator completely composed to a burst of flashbulbs. HONEY Mayor Fenwick! LIBBY and CHARLES look to one another relieved as HOTEL GUESTS stumble out of elevator, shaking their heads in disgust. MAYOR Miss Whitlock, what an honor! They pose together as PRESS snaps away. HONEY I love what you've done with this city. MAYOR And Baltimore loves you back! (Takes out proclamation) I, Adam Fenwick, Mayor of the City of Baltimore, do hereby proclaim April 29th to be Honey Whitlock Day in Maryland and do command this observation to all of our citizens. Whereas... 9 11. EXTERIOR FRONT ENTRANCE HARBOR COURT. 11. Limos await dignitaries for publicity cavalcade to Senator Theater premiere. PETIE, a 22-year-old hillbilly tough guy, dressed in a chauffeur's uniform sits behind the wheel of a white limousine as HONEY and MAYOR and their entourages make their way to limos followed by PRESS. PETIE (Looking at watch and sneakily speaking into walkie-talkie) 6:41pm. (SMILING EVILLY) A star is born... 12. INTERIOR PROJECTION BOOTH SENATOR THEATER. 12. SINCLAIR STEVENS hears PETIE on earphones to his walkie-talkie. SINCLAIR (Whispering into walkie) 10-4, Petie. SINCLAIR nods gravely to LYLE the projectionist who picks up a 35mm metal film can and sneaks up behind MR. STILLINGS who is looking down from projection booth to the premiere CROWD filling the theater below. MR. STILLINGS Christ, there's what's-her-name from E Network. Look at the tits on her! LYLE hits MR. STILLINGS over the head with the film can. SINCLAIR (In full command, over walkie, CHECKING WATCH) 6:43pm. Hit it, "SPROCKET HOLES." 13. INTERIOR SENATOR THEATER. REFRESHMENT STAND. 13. PAM, the popcorn girl, wearing ear phones, as are all the "SPROCKET HOLE" gang, grabs a 9mm gun hidden underneath a mound of popcorn and quickly puts it in her jacket pocket between waiting on customers. PAM (INTO WALKIE) (MORE) - 10 - 6:44pm. By whatever means necessary. (TO CUSTOMER) Butter? 14. INTERIOR SENATOR THEATER. 14. CHERISH works with professional BARTENDERS mixing drinks for a long line of benefit TICKET HOLDERS. She empties last of vodka from bottle into a cocktail, squats down and adds bottle to several molotov cocktails hidden under the bar. PAM (INTO WALKIE) 6:46pm... In the name of underground cinema... 15. INTERIOR SENATOR THEATER. JANITOR'S SUPPLY AREA. 15. FIDGET hurriedly unloads canisters of Mace from utility closet and stores them in his portable trash can. FIDGET (INTO WALKIE) 6:47pm. (CHANTING SOFTLY) Hey, hey, MPAA, how many movies did you censor today? 16. INTERIOR SENATOR THEATER. LEFT AISLE. 16. LEWIS, the usher, seats a STUDIO HEAD and his WIFE in a row of reserved seats with other STUDIO TYPES and then pretends to drop torn stub. LEWIS (Into walkie, as he searches UNDER SEAT) 6:48pm. An usher's job is never done, put down the flashlight and pick up the gun! LEWIS finds hidden gun and sneakily puts it in his pocket. 17. INTERIOR SENATOR THEATER. INNER LOBBY. 17. CHARDONNAY tears a ticket, and quickly pulls a bullet out of her elabora6.e hairdo. - 11 - CHARDONNAY (INTO WALKIE) 6:50pm. Fuck the studio system! (TO CUSTOMER) Enjoy the show. SHE gives back stub and then loads bullet into gun hidden beneath torn ticket stubs in her counter. CHARDONNAY (To NEXT CUSTOMER) Ticket, please... 18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18. Closeup of HONEY WHITLOCK's furious face as she stares in horror at awaiting white stretch limousine driven by PETIE. CHARLES What's the matter, Miss Whitlock? HONEY A fucking white limousine?! LIBBY Oh nobody will know, we're in Baltimore... HONEY I'm not Liberace's boyfriend, for Chrissakes...My contract says black limousines only! LIBBY The charity probably made the arrangements. It was an innocent mistake. HONEY (GOING BALLISTIC) Do I look like a coke dealer? ARE WE GOING TO THE FUCKING PROM?! MAYOR (Stepping into black limo,) Break a leg, Miss Whitlock! RODNEY, in a panic, keeps checking his watch. RODNEY Excuse me, ma'am, but Security's gonna have my ass if we're late... - 12 - HONEY (Turning on him with a VENGEANCE) Don't say "ass" to me, trailer trash! I'll have you fired! 19. SENATOR THEATER. BOX OFFICE OUT FRONT. 19. DINAH is raking in the cash. TICKET BUYER (Handing over the money for reserved tickets) The Heart Fund must be thrilled at the turnout. DINAH It's for a wonderful cause... Thanks for your support. (Between customers, sneakily INTO WALKIE) 7:01pm. Inch by mother fucking inch... 20. INTERIOR SENATOR THEATER. STAGE AREA. 20. RAVEN, the usherette, carries another bouquet of flowers to the stage and sets the timer of the home-made bomb hidden inside for 7:10pm. RAVEN (INTO WALKIE) 7:02pm... (Smiling to audience, under her breath) When the word is given, we will seize the cinema... 21. Cut to NORTHERN PARKWAY, suburban throughway near 21. Senator Theater. White limousine speeds to premiere with police escort. 22. INTERIOR WHITE LIMO. 22. CHARLES the press agent, LIBBY the assistant, and RODNEY the bodyguard sit in back with HONEY as she gives a phone interview. PETIE the chauffeur winks sexily in rear view mirror to RODNEY the bodyguard, who smiles back uneasily, HONEY (On phone, being a star) "Some Kind Of Happiness" is a (MORE) - 13 - screwball romantic comedy - life-affirming but realistic and to be honest, with all the misery in the world today, couldn't we use a little optimism in the movies? 23. EXTERIOR SENATOR THEATER. 23. SINCLAIR smiles evilly, holding a huge bouquet of flowers as LEWIS greets MAYOR and BODYGUARDS as they exit limo to applause from CROWD. HONEY's white limo pulls up behind them, led by MOTORCYCLE ESCORT. SINCLAIR (Into his walkie-talkie) 7:06pm...The Big Snatch. HONEY steps from limo and waves like a true star to roar of approval from crowd as PRESS blinds her with flashbulbs. SINCLAIR (Handing her the bouquet) Good evening, Miss Whitlock, and welcome to the historic Senator Theater. 24. INTERIOR SENATOR THEATER. STAGE. 24. MRS. MALLORY, a no-nonsense middle-aged society type walks on stage pushing LITTLE WILLIAM, the eleven-year-old Heart Fund Poster Boy who is in a wheelchair connected to breathing tubes. The audience breaks into big applause as LITTLE WILLIAM pales in stage fright and resentment. 25. INTERIOR SENATOR STAGE. AUDIENCE. 25. LEWIS leads an applauding MAYOR to his reserved seats along with BODYGUARDS. MAYOR, ever the politician, shakes hands with FIDGET the janitor. 26. INTERIOR SENATOR THEATER. STAGE. 26. MRS. MALLORY (At podium, into microphone) Good evening, I'm Sylvia Mallory, Chairman of the Maryland Heart Fund and this is Little William... LITTLE WILLIAM glares sullenly at audience, unhappy to be there. - 14 - MRS. MALLORY Little William had heart surgery just seven days ago and thanks to the blood transfusion paid for by your generosity at tonight's premiere, he's going to be alright, aren't you, Little William? LITTLE WILLIAM (SULLENLY) I don't want to be here! MRS. MALLORY (To AUDIENCE as she tries to hug him) Little William's a little grumpy... LITTLE WILLIAM (Snatching away her hands, under his breath) Get off me, ugly. MRS. MALLORY (TO AUDIENCE) .But he's ALIVE, and that's what counts! AUDIENCE applauds. 27. INTERIOR SENATOR THEATER LOBBY. 27. RODNEY and SINCLAIR lead HONEY through lobby followed by LIBBY and CHARLES. BARTENDERS and STUDIO PERSONNEL applaud and snap photos as HONEY beams. 28. INTERIOR SENATOR THEATER. STAGE. 28. MRS. MALLORY continues as LITTLE WILLIAM glares at her in hatred. MRS. MALLORY And now the moment you've been waiting for! You first saw Honey Whitlock on the screen as the lovely ingenue turned vixen in "Good For Nothing"... 29. PROJECTION BOOTH. 29. LYLE takes a big hit of pot off a bong and then picks up his gun. - 15 - LYLE (INTO WALKIE) 7:09pm. Honey Whitlock, welcome to film hell! We see MR. STILLINGS tied and gagged behind him. 30. INTERIOR THEATER. RIGHT AISLE. 30. RAVEN seats CHARLES and LIBBY who look to the stage with professional pride. 31. INTERIOR SENATOR THEATER. STAGE. 31. LITTLE WILLIAM builds in fury as he listens. MRS. MALLORY .and from then on it's been hit after hit... LITTLE WILLIAM kicks MRS. MALLORY in leg behind the podium where AUDIENCE can't see. MRS. MALLORY (Grimacing in pain) .after hit. LITTLE WILLIAM smiles at her sadistically. MRS. MALLORY tries to inch away from LITTLE WILLIAM who sneakily continues to kick her. MRS. MALLORY ."Ask The Lonely"..."The Big Hurt"... LITTLE WILLIAM kicks her harder. MRS. MALLORY (Off mike, furiously to LITTLE WILLIAM) Watch it, you little fucker! (Back to normal) .her Oscar winning performance in "Forced Entry" and tonight... "Some Kind Of Happiness." 32. INTERIOR SENATOR THEATER. BACK OF AISLE IN REAR 32. OF THEATER. HONEY waits for her cue to go on with SINCLAIR and her "bodyguard" RODNEY. - 16 - SINCLAIR (INTO WALKIE) 7:09pm and thirty seconds. (SMILES EVILLY) 33. INTERIOR SENATOR THEATER. STAGE. 33. MRS. MALLORY .Ladies and gentlemen, a big Baltimore welcome for MISS HONEY WHITLOCK! 34. INTERIOR THEATER. 34. Wide shot of audience erupting in applause and craning their necks as HONEY is led down right aisle to stage by SINCLAIR and RODNEY the bodyguard, LIBBY and CHARLES applaud from their seats. MAYOR stands and applauds. HONEY smiles radiantly as she passes life-size promotional cut-out of herself in aisle. Cut to reverse side of cut-out and we see CHERISH ready to light the fuse of a molotov cocktail. MRS. MALLORY applauds wildly from stage. FIDGET starts playing pocket pool in nervous excitement. MAYOR glares at FIDGET in prudish disbelief. LITTLE WILLIAM sneers at HONEY's approach with hostility. 35. SENATOR STAGE. 35. SINCLAIR grabs oversized prop check made out to Maryland Heart Fund for $75,000 from the wings and carries it on stage as RODNEY the bodyguard escorts HONEY to the podium. HONEY shakes hands with MRS. MALLORY and bends down to give LITTLE WILLIAM a kiss for the PHOTOGRAPHERS. LITTLE WILLIAM grimaces and wipes off her kiss with disgust before kicking MRS. MALLORY one last time. HONEY (INTO MICROPHONE) Thank you! Thank you very much! You're so kind! - 17 - MRS. MALLORY sneakily disconnects a tube to LITTLE WILLIAM who starts gasping for air. HONEY I LOVE YOU, BALTIMORE! I REALLY DO! SINCLAIR throws down prop check and pulls a MAC 10 gun HONEY's head. SINCLAIR I AM CECIL B. DEMENTED!... (Rips off his short-haired wig to reveal bleached PUNK-CUT HAIR) AND THIS IS A FUCKING KIDNAPPING! Bomb in flower arrangement goes off, sending debris flying. AUDIENCE hits the floor screaming in panic. RODNEY pulls a gun and fires into air as HONEY screams in horror. CHERISH throws a molotov cocktail and it explodes in front of theater between stage and first row of seats, blocking any rescue of HONEY by NEWSTEAMS. 36. PROJECTION ROOM. 36. LYLE flashes CECIL B. DEMENTED logo on screen and rushes from projection booth. 37. INTERIOR SENATOR THEATER. STAGE. 37. MRS. MALLORY clutches her heart in fright as LITTLE WILLIAM, gasping for breath manages to plug back in tube and instantly becomes hateful again, enjoying the mayhem. CECIL drags a screaming HONEY off stage as RODNEY runs interference, firing wildly over screaming AUDIENCE's heads. 38. INTERIOR SENATOR THEATER. SNACK BAR. 38. PAM the popcorn girl sheds her wig to reveal her bizarre short hairdo and pulls gun. SINCLAIR STEVENS will be referred to by his terrorist name "CECIL B. DEMENTED" for the rest of the script. - 18 - PAM (To horrified CUSTOMER) WOMEN IN FILM! PAM jumps over popcorn counter and karate kicks two stunned COPS assigned to the premiere and pistol whips a third COP. 39. INTERIOR SENATOR THEATER. AUDIENCE. 39. RAVEN, smiling happily as always, quickly punches out CHARLES, the press agent, as he tries to block a PHOTOGRAPHER from getting a shot of CECIL dragging HONEY up aisle towards lobby. CHARDONNAY tackles LIBBY, the assistant as she tries to run towards HONEY. 40. INTERIOR SENATOR THEATER. STAGE. 40. MRS. MALLORY collapses, having a heart attack and LITTLE WILLIAM laughingly imitates her gasps of pain. 41. INTERIOR SENATOR THEATER. AUDIENCE. 41. LEWIS fires over MAYOR's head as he rushes to stage help MRS. MALLORY. BODYGUARDS run for their lives. FIDGET tear gases STUDIO EXECUTIVES and their WIVES as they attempt to flee. CHARDONNAY rifles pocketbooks of SOCIETY LADIES and steals their wallets as they cower in fear on the floor. 42. INTERIOR SENATOR BOXOFFICE. 42. DINAH stuffs cash into shopping bags, robbing the charity of its fund, pulls a large gun and runs out of cashier's booth. 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43. MAYOR is giving MRS. MALLORY emergency mouth-to-mouth resuscitation as LITTLE WILLIAM laughs maniacally. 44. EXTERIOR SENATOR THEATER. 44. Complete pandemonium as premiere AUDIENCE comes stampeding out of theater in a panic. MOTORCYCLE COP ESCORTS leap from motorcycles and pull guns but PETIE jumps from limo, grabs a piece of lumber from sawhorse and knocks them unconscious with - 19 - it. DINAH comes running, firing into the air, and throws bags of money into back of limo and jumps in. CHERISH, LYLE, RAVEN, FIDGET, CHARDONNAY and PAM come charging out of theater, firing their guns to cover their escape. CECIL drags HONEY outside, still in a chokehold as RODNEY fires wildly to keep anyone at bay. HONEY (To HORRIFIED FANS who duck for cover) HELP ME! CALL THE STUDIO! CALL JACK VALENTI! HELLLPPP! PETIE opens the trunk of the limo and RODNEY and CECIL throw HONEY inside and slam it shut. HONEY continues screaming and banging on trunk door as CECIL and GANG pile into limo. CECIL (TO GANG) POWER TO THE PEOPLE WHO PUNISH BAD CINEMA! PETIE peels out in limo as PREMIERE GUESTS and FANS dive out of the way and GANG chants "Battle of Algiers"-type revolutionary yell. CECIL fires his gun out back window and shatters the "Some Kind Of Happiness" logo on marquee. 45. INTERIOR SPEEDING LIMO. 45. CHERISH lunges for CECIL and they french kiss hotly. From PETIE's POV behind the wheel we see COP CAR #1 with sirens wailing and lights flashing heading towards premiere. In rear view mirror, PETIE sees three other COP CARS speeding up to Senator Theater and screeching to a stop. 46. EXTERIOR YORK ROAD. NORTH OF SENATOR THEATER. 46. COP CAR #1 screeches into a U-turn and COP in passenger side fires his gun at CECIL's limo. 47. INTERIOR SPEEDING WHITE LIMO. 46. - 20 - Back window is blasted out by COP's bullet. CECIL I fuckin' hate car chase scenes! PETIE (Flooring the accelerator, PISSED) Yeah, but "Bullit" was good! LYLE snorts cocaine off a coke-spoon and nonchalantly picks glass out of his hair. LYLE But it lead to the "French Connection." CHARDONNAY (VICIOUSLY) Which inspired a sequel! LEWIS And lead to "Smokey and The Bandit" and that kinda shit! PETIE sees another cop car speeding up behind him in the rear view mirror. DINAH leans out limo window and fires gun back'at cop car. PAM (FURIOUS) "Smokey and The Bandit" even had fuckin' sequels... Another cop car speeds towards them from the front trying to cut them off. PETIE (Insane, driving like a lunatic) Yeah, Part fucking Two, 1980!... DINAH (IN DISGUST) Part Three, 1983! CECIL (PSYCHOTICALLY) "Smokey and The Bandit" ruined my childhood! CECIL fires his gun in the nick of time and shatters approaching cop car's windshield. - 21 - PETIE makes a hard right and zooms up church driveway as two cop cars collide behind him. FIDGET cheers like a kid and starts absentmindedly playing pocket pool. 48. EXTERIOR CHURCH ROAD. 48. Another cop car is speeding to premiere from behind the church and almost hits the limo as PETIE veers right in the "V" in the road, narrowly missing a MINISTER and a suspiciously SENSITIVE TEEN as they leave the church rectory. CHERISH (Yelling out window) Long live pornography! 49. EXTERIOR ONE-WAY STREET. 49. PETIE speeds limo the wrong way past one-way sign into path of oncoming speeding cop car. In the nick of time, PETIE turns a hard left skidding around corner onto bumpy cemetery road behind church. Cop car swerves right to avoid collision and careens into CABLE TV installation truck. COP jumps out of car and starts firing at limo. 50. INTERIOR SPEEDING LIMO. 50. CHARDONNAY puts tape into limo cassette player and the entire GANG starts singing along with original gangsta rap song entitled "SHE'S A BANKABLE BITCH (and we don't need no pitch)." 51. EXTERIOR CEMETERY ROAD. 51. COP fires again and hits limo trunk lock. Trunk door flies open and HONEY screams her lungs out, holding on for dear life. HEAVY METAL KIDS, hanging out in graveyard look up and see RAVEN yelling out car window with HONEY in trunk. RAVEN (Imitating "The Exorcist") Your mother sucks cocks in hell! HEAVY METAL KIDS look at each other in horror and run - 22 - away in fear. Limo bumps down road at high speed and trunk door bangs shut, knocking HONEY into submission. Limo makes a fast right. 52 SUBURBAN INTERSECTION. 52 Traffic is stopped in both lanes for a red light. PETIE screeches to a sudden stop. HE checks rear-view mirror and realizes they have escaped their POLICE pursuers. PETIE (TO GANG) We did it. PETIE grabs RODNEY from back seat and gives him a big kiss. A SUBURBAN LADY pulls up in her car next to limo on right. SUBURBAN LADY Sinclair, is that you? PETIE turns down radio and GANG freezes. CECIL (Suddenly turning into his old self) Hi, Mrs. Waltrup. SUBURBAN LADY Did you win the lottery? CECIL (POLITELY) No, ma'am, we were at a movie premiere. SUBURBAN LADY I don't go to the movies much, I wait for the video. CECIL Not me, I like the big screen. SUBURBAN LADY Say hello to your mom and dad for me. - 23 - CECIL I sure will. SUBURBAN LADY makes right on red and pulls off. CECIL (Smugly, to GANG) Casting has been completed! PETIE peels out in other direction. 53. Cut to EXTERIOR "SPROCKET HOUSE," a run-down, 53. seemingly abandoned warehouse in an industrial part of t:he city. The moon is full and the quiet is interrupted by faint sirens in the distance. Suddenly, like a low-rent Bat Cave, the large industrial garage doors swing open and the white limo speeds inside. 54. Dissolve to INTERIOR SPROCKET HOUSE. HONEY's 54. "dressing room"; a bizarrely decorated prison cell fit for a movie queen. HONEY is blindfolded, gagged and tied to a director's chair with her name printed on the back, still wearing her torn and soiled premiere gown. LEWIS, now dressed in terrorist punk outfit removes HONEY's blindfold and gag as she sputters in terror. We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his fingers. HONEY's e yes light up in terror as she sees CECIL, now attired in insane grunge Cecil B. DeMille inspired outfit being lowered by PETIE on jerry-rigged film crane. "Otto Preminger" is tattooed on CECIL's bicep. CECIL .Hello, I'm Cecil B. DeMented and I'm your new director... HONEY stares in confused horror. CECIL I'd like you to meet your co-stars ...I call them the "Sprocket Holes." HONEY looks over in fear as the SPROCKET HOLES, now changed from their theater uniforms into their own scary "terrorist chic" fashions, gather around CECIL in a "crew-shot from hell" pose. - 24 - CECIL This is Cherish... CHERISH, now heavily made-up and dressed "riot-girl" style, in a "SINEMA" T-shirt, steps forward. We see "Andy Warhol" tattooed on her thigh. CHERISH Hi, I played you in lots of porno movies. "Some Kind Of Happiness"? I've already shot it - only it's called "Some Kind Of Horniness." (PROUDLY) But that's all behind me. I'm an outlaw cinema girl now. CECIL Lyle? LYLE takes a big huff of glue in plastic bag and steps forward. He is dressed in scarily in 1970's junky wear meets 90's Hollywood sleaze, and sports a "Herschell Gordon Lewis" tattoo across his skinny chest. LYLE Hi, I'm Lyle and I'm your leading man. I've had a boner for you for years. HONEY pales. CECIL (Getting off crane and stepping towards HONEY) Don't worry, we've all taken a vow of celibacy for celluloid. No one gets laid until we've finished our movie. We're horny... CHERISH starts writhing sexily. CECIL .but our film comes first. CECIL gently shoves her away

vacancy

How many times the word 'vacancy' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

dad

How many times the word 'dad' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

beneath

How many times the word 'beneath' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

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Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

athletic

How many times the word 'athletic' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

ever

How many times the word 'ever' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

successful

How many times the word 'successful' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

patrol

How many times the word 'patrol' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

goes

How many times the word 'goes' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

against

How many times the word 'against' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

eager

How many times the word 'eager' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

again

How many times the word 'again' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

gangway

How many times the word 'gangway' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

ear

How many times the word 'ear' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

screws

How many times the word 'screws' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

along

How many times the word 'along' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

one

How many times the word 'one' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

schooler

How many times the word 'schooler' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

coffee

How many times the word 'coffee' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

stares

How many times the word 'stares' appears in the text?

Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

deliver

How many times the word 'deliver' appears in the text?

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Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

gentle

How many times the word 'gentle' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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How many times the word 'shit' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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How many times the word 'play' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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How many times the word 'screech' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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How many times the word 'apartment' appears in the text?

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Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

swarm

How many times the word 'swarm' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

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How many times the word 'across' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

bros

How many times the word 'bros' appears in the text?

Collateral Damage Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS COLLATERAL DAMAGE by Ronald Roose Revisions by Nicholas Meyer David Griffiths and Peter Griffiths Terry George Current revisions by Channing Gibson No portion of this script may be performed, reproduced, or used by any means, or quoted or published in any medium without the prior written consent of Warner Bros. PRODUCTION DRAFT April 14, 2000 WARNER BROS. 2000 4000 Warner Boulevard WARNER BROS. Burbank, California 91522 All Rights Reserved FADE IN: 1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A One A.M. on a hellish summer night in Spanish Harlem. 1B FIREFIGHTER 1B snores like a chainsaw in the upstairs sleeping quarters. 1C INT. LIVING AREA 1C A FAN WHINES as a firefighter channel surfs. 1D TRUCK BAY 1D A rookie firefighter shines chrome on the pumper. 1E BAY'S OPEN DOORWAY 1E A firefighter plays chess with a neighborhood kid. SALSA BLASTS from somewhere. 1F OLD FIREHOUSE 1F spills light onto a street of aging, neglected buildings as people beat the heat in open windows, on stoops and street corners. 1G FIREHOUSE DALMATION 1G laps water from a dripping hydrant. 2 INT. FIREHOUSE - KITCHEN - NIGHT 2 NYFD Lt. GORDY PITT strains as he works the handle of an old-time, hand-cranked ice cream maker. It's a tough job requiring strength, patience and determination. In a nutshell, that's Gordy. Firefighter JUNIOR MONTINE, black Panamanian descent, watches Gordy crank away. JUNIOR Hear the big news, Lieutenant? It's the twenty-first century. We got electricity now. Gordy keeps cranking. (CONTINUED) 2. 2 CONTINUED: 2 JUNIOR Got these supermarkets, too. Big places, freezers full o' ice cream. Gordy stops. Pops the lid. Spoons out a dollop. GORDY Open up. He sticks the spoon in Junior's mouth. Junior eats. Junior loves it. Gordy smiles. GORDY Screw the twenty-first century. The FIRE BELL SOUNDS. 3 INT. FIREHOUSE - VARIOUS SHOTS 3 Everyone scrambles. The choreography's practiced, automatic. It's achieved without conversation. The channel surfer slides down the fire pole. He's followed by the man who was upstairs snoring. Junior rips a sheet from the teleprinter. He hands the printout to the snorer, the company's "chauffeur." Feet jam into boots. Yellow trousers are hauled up and hitched with suspenders. Yellow jackets are whipped on. The chauffeur TURNS OVER the PUMPER'S huge MOTOR. Firefighters take their stations on the truck. Headsets go on. As the fire company's lieutenant, Gordy rides shotgun. The chauffeur hands him the printout. As the engine moves out under lights and SIREN, Gordy speaks to the men over the headsets -- GORDY Second alarm. Multiple dwelling between Third and Lex. 4 EXT. SPANISH HARLEM - STREETS - NIGHT 4 The ENGINE SCREAMS and HONKS through the city. 3. 5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5 FLAMES ROAR from the upper stories of this slumlord's shitbox. An engine and ladder company are on-scene attacking the fire with hoses. Neighbors gawk. Gordy's engine company arrives. Gordy hits the ground, moves to a battalion chief. The chief's terse orders are drowned out by the NOISE of the EQUIPMENT, fire and men. Gordy moves back to his company, who have already hooked the engine up to water. GORDY Top story's fully involved. We're supporting inside. Two lines up the stairs. He points to Junior and then to the channel surfer, MIKE SHEA, a veteran firefighter of Irish descent. GORDY Junior and Mike -- He points to the chess player, SAL DIBIASE, another FD veteran, Mediterranean descent, and then to the rookie, RONNIE BOOK, a New York melting pot mutt. GORDY -- Sal and Ronnie. The chauffeur, ART WESTPHAL, German-Irish, stays with the engine as Gordy grabs a fire axe and leads his two two- man hose teams into... 6 INT. TENEMENT 6 Gordy and his men charge the stairs dragging the heavy hoses. Rats head past in the opposite direction, deserting the burning building. 7 THIRD FLOOR 7 They meet fire on the third floor. On goes the water. Gordy quickly checks rooms on the floor for occupants, using the axe to open locked doors, then taps Junior and Mike, indicates "up." Begins leading the hose team up the stairwell. Sees something and yells a warning -- GORDY Stairs're screwed. Hug the wall. 8 FOURTH FLOOR 8 They reach the fourth floor. There's fire everywhere. And then... (CONTINUED) 4. 8 CONTINUED: 8 They see a FIREFIGHTER from the other company. He has fallen through a gaping hole in the floor of the hallway above. He's pinned under a large section of heavy debris, coughing and screaming for help as fire rages around him. To Junior and Mike -- GORDY Knock it back! They turn the hose on the flames as Gordy moves to the trapped firefighter. Gordy tries lifting the debris, can't budge it. He starts chopping at it with the axe. Chunks of plaster fly as the axe bites again and again. Gordy hacks off a large piece of debris. He levers his axe under the portion still trapping the firefighter. Mike moves to help. Gordy heaves up on the axe. The debris lifts. He heaves harder. It lifts more, until... Mike slides the firefighter out. Gordy yanks his axe free. The debris collapses. Gordy moves to the firefighter. FIREFIGHTER #1 Two floors up. I heard screaming... Couldn't get there. GORDY Where? FIREFIGHTER #1 End of the hall. 9 GORDY 9 takes off. Charges the next flight of stairs. Reaches the fifth floor. Tries to reach six, but there's too much fire. He's beaten back... but not before he hears the FAINT sound of SCREAMING. 10 NEW ANGLE 10 Gordy looks down the fifth floor hallway to an apartment door at the end. Between him and the door is the gaping hole in the floor. It's too big to jump. He starts running. He's gonna jump it. Gordy reaches the edge of the hole. Leaps with all he's got. At the same time, he swings the axe, point-first. Slams it into a spot high on the wall, and... (CONTINUED) 5. 10 CONTINUED: 10 Gordy swings over the hole on the axe handle. He hits the other side running. Drives a shoulder into the door at the end of the hall. 11 INT. TENEMENT APARTMENT 11 Gordy bursts in. It's an inferno. He looks up. Knocks his axe on the ceiling. Hears desperate POUNDING back. Gordy climbs a table. Starts whacking upward with the axe, attacking the peeling, crumbled plaster overhead. Gordy is trying to hack a hole into the room above, but he's not doing it fast enough. He won't beat the fire. 12 INT. TENEMENT - HALLWAY 12 Gordy calls down to his men. GORDY Give me the hose! MIKE This place is gone! It could flashover any second! GORDY Give me the goddamn hose! Beat. Mike and Junior pass the hose up. 13 INT. TENEMENT APARTMENT 13 Gordy aims the nozzle at the hole he started in the ceiling. Turns it on full jet. Gordy's barely able to hold the hose as the high-pressure stream bites into old, decayed plaster. Bit by bit the ceiling falls away. Gordy's almost through to the room above, when... Falling debris severs the hose. Gordy's lost pressure. He hasn't broken through. The building's coming down. He's gotta get outta there. Gordy's not going anywhere. Picks up the axe. Attacks the hole again furiously, until finally... 6. 14 GORDY 14 breaks through! A small hole, which he quickly widens, to reveal... a terrified Latino family gaping down at him, their room ablaze around them. Gordy reaches up. Speaks to them in Spanglish -- GORDY It's okay... Esta bien, esta bien... Come with me... Con mio... 15 INT. TENEMENT HALLWAY 15 Gordy lowers the family through the floor hole. 16 EXT. TENEMENT 16 Gordy carries the family's small child outside. He passes the child to its grateful parents, while... The rescued Firefighter sits on a curb looking at a hero and shaking his head in disbelief and admiration. 17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17 ANNE PITT, thirties, reaches out and KILLS the ALARM. She rolls over. The other half of the bed's empty. We hear a CHILD'S VOICE from another room. 18 INT. MATT'S BEDROOM 18 Anne opens the door to find an exhausted Gordy sitting on the floor with their four-year-old son, MATT. They're building a K'nex spaceship. MATT Look what we made! ANNE Nice rocket... That took a while. GORDY He was awake when I got home. His throat still hurts. ANNE Shit. MATT That's a bad word. GORDY You're right. (CONTINUED) 7. 18 CONTINUED: 18 ANNE Sorry. She feels Matt's forehead. Gordy's done it already. GORDY No fever. ANNE (to Matt) You better see Dr. Bob. (to Gordy) And this time, no opening fire hydrants to play in till he's completely well. GORDY Yes, ma'am. She leans down and kisses him. There's passion in it. ANNE How was your shift? GORDY (shrugs) The usual. She yawns. Starts heading out. ANNE Dreamed I did a triple axel in an ice skating championship. GORDY (beat; calls after her) Come back and let me see those legs again. 19 INT. BATHROOM - DAY 19 Gordy holds Matt in his arms as water pours over them. It's the second child he's held in the last few hours. This one is his, this one is safe at home and unafraid: what a father wants for his child. We see the deep affection Gordy has for his son. He holds Matt tightly, skin to skin, and kisses the boy's wet head... Anne opens the shower door. She's on the phone. (CONTINUED) 8. 19 CONTINUED: 19 ANNE Dr. Bob can squeeze him in at twelve. I have a patient relations meeting at twelve- fifteen. Can you take him? GORDY I have a game. But yeah, if we do the handoff at the doctor's. ANNE (into phone) Yes, he'll be there... Thanks. (hangs up; to Gordy) Five-of in front of Dr. Bob's. Don't be late. (to Matt) Let's get you out, sweetie. Your father just can't keep you dry. She leads Matt out. Closes the shower door. Gordy sticks his face into the water. Looks back, finds... Two bare butts, Anne's and Matt's, are pressed against the shower door's foggy glass. OFF Gordy, laughing -- 20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20 It appears the entire neighborhood's crammed against the chain-link fence around the court, yelling and cheering as a team of local kids from the NYFD Athletic League plays a team of local kids from the NYPD Athletic League. Gordy's an NYFD coach, exhorts his team at the top of his lungs. The rivalry's intense. The game close. The noise deafening. Bets are going down. NYFD goes up by one in the final minute. Gordy disses a cop coaching the opposing team. LUIS is one of Gordy's kids. A small but talented fifteen-year-old. Luis steals the ball. Drives for an unguarded lay-up to put the team up by three... And misses. An opponent recovers the ball. The flow shifts toward the other end, but Luis is slow adjusting, devastated at missing the easy "two." Gordy yells at him to defend. GORDY Luis, get back! Pick up your man! (CONTINUED) 9. 20 CONTINUED: 20 Luis shakes it off. Hustles back on "D" as his man gets the ball. The opponent's a step ahead. Goes up... And Luis gets there to reject him. The crowd loves it. The BUZZER SOUNDS. NYFD wins. 21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21 In the game's immediate aftermath. NYFD celebrating around them. Gordy's proud of Luis. GORDY We lose, win, whatever. But one thing we never do. We never, ever give up. Right? OFF Gordy, smiling at Luis... 22 SAME SCENE - LATER 22 The crowds are gone. Gordy checks his watch and starts off, when a SOUND draws his attention. 23 GORDY'S POV 23 Luis walks along the inside of the chain-link fence around the court. A neighborhood gangbanger and his crew match Luis step for step outside the fence, rattling the fence, clearly trying to intimidate him. 24 BACK TO SCENE 24 Gordy stalks walking toward them. Calls -- GORDY Luis... Seeing Gordy approach, the gangbanger and crew drift off. Reaching Luis -- GORDY What was that about? LUIS Told 'em I wouldn't play with 'em anymore. But Gordy sees Luis is scared. And he sees the gangbanger and crew hovering nearby waiting for Gordy to go. 10. 25 EXT. SPANISH HARLEM - BODEGA - DAY 25 THROUGH the window, we see Gordy delivering Luis to a Latin man, clearly Luis's father and the bodega's owner. We don't hear the words, but we can tell Gordy's complimenting the boy to his dad. Gordy emerges. Checks his watch. Whistles up a taxi. 26 INT. TAXI - DAY 26 Traffic jam on Park Avenue South. Gordy's anxious. Checks his watch. He's late. To the cabbie -- GORDY Try Fifth. 27 EXT. 68TH AND MADISON - DAY 27 Anne waits on the corner with Matt, playing with his spaceship. She checks her watch. It's five of twelve. 28 INT. TAXI - DAY 28 Fifth Avenue's also a parking lot. GORDY Shit. He jams money in the pay dish. GORDY I'm getting outta here. 29 EXT. FIFTH AVENUE 29 Gordy exits the cab and takes off running. 30 ANNE 30 checks her watch again. She's pissed now. In b.g., a cop leaves his police cart to write a ticket. A caravan of Lincoln Navigators passes Anne and turns east on 68th. 31 GORDY 31 turns onto 68th. As he runs, he jumps, trying to see Anne and Matt over other pedestrians. 11. 32 ANNE 32 In b.g., the Navigators pull up at a building flying the Colombian flag. Latin and American men in suits get out of the Navigators. 33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33 Gordy dodges pedestrians. Still trying to get a glimpse of Anne and Matt. The cop we saw writing tickets earlier is walking the other way. Gordy nearly collides with him. At the last moment, the traffic cop shuffles Gordy aside. GORDY Sorry. Gordy reaches the corner. Sees Anne and Matt. Whistles. In b.g., behind Gordy, we see the cop get into a brown Ford. 34 ANNE AND MATT 34 hear the WHISTLE. Matt sees Gordy. MATT There he is. Matt waves. 35 GORDY 35 waves back, shrugs an apology to Anne as he starts across the street, when... 36 INTENSE FLASH 36 suddenly lights up the intersection. In SLOW MOTION: 37 SHOCK WAVE 37 wave rolls up 68th past Madison... 38 HUGE BALL OF FLAME 38 erupts behind Anne and Matt... We hear the ENORMOUS BANG of the explosion... 12. 39 WINDOWS 39 are sucked into millions of fragments, a hailstorm of glass... 40 GREAT CHUNK OF METAL 40 -- an engine block -- flies from the ball of flame... 41 ANNE 41 instinctively pulls her child to her... 42 GORDY 42 sees the engine block tumbling through the air toward his wife and son. His scream is lost in the thunderous ROAR all around. 43 GORDY'S POV - IN SLOW MOTION 43 The engine block is about to hit Anne and Matt, when... A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out Gordy's line of sight. When the truck clears... Anne and Matt are gone. The corner's empty. Just Matt's spaceship, slowly falling to the ground... 44 BACK TO SCENE 44 There's a horrible SCREECH. A TAXI SKIDS sideways to avoid the FedEx truck and hits Gordy. He's in the air, tumbling, then smacks to the ground. Gordy looks up, through the smoke and falling debris. Then struggles to his hands and knees. GORDY Anne! He tries to stand, then falls down, screaming in pain, a large shard of glass embedded in his leg. People come to help him, but Gordy only cares about finding Anne and Matt. He looks around desperately but can't see them, when... His eyes go to the spaceship, in pieces on the pavement. (CONTINUED) 13. 44 CONTINUED: 44 Gordy screams out his agony -- GORDY Noooooo!!! 45 EXT. COLOMBIAN CONSULATE 45 The blast detonated here. Some men from the Navigators are dead. MIKE BRANDT is not. Rises from the devastation, gun in hand, as SIRENS wail in the distance. 46 EXT. 68TH AND MADISON - LATER 46 Emergency personnel - EMS, NYPD, NYFD -- swarm the area. Two white plastic sheets cover two bodies. Across the street, PARAMEDICS work on Gordy's leg. PARAMEDIC #1 We're gonna give you a shot. Gordy's oblivious to the pain. Shoves him away. GORDY I need to see them! PARAMEDIC #1 We gotta help you right now. PARAMEDIC #2 We've done all we can for 'em, Gordy. 47 ANOTHER ANGLE 47 FBI agent JOE PHIPPS ducks under the police tape. REGGIE DRAY, a young agent, meets him. As they walk -- DRAY Device functioned in front of the Colombian Consulate just as a motorcade full of brass arrived. PHIPPS Who were the brass, and why were they here? (CONTINUED) 14. 47 CONTINUED: 47 DRAY No one's talking yet, but it smells high-level. There were Colombians and Americans in the cars. Three of 'em ate it. Guy on the phone -- He indicates Brandt, talking on a cell phone. DRAY -- is one of the survivors. Name's Brandt. C.I.A. That gets Phipps' interest momentarily. Then, as they continue toward the consulate, he notices security cameras on the building. PHIPPS Check the surveillance cameras? DRAY We're pulling up the video now. PHIPPS (stops; looks around) Where's N.Y.P.D. on this? DRAY They know it's ours. They're helping with shoe-leather. Phipps' eyes go to the white sheets up the street. DRAY We got two dead bystanders, a mother and four-year-old son. The father's over there with a leg wound. (indicates Gordy) Guy's a lieutenant with the New York F.D. PHIPPS Anybody talk to him yet? DRAY We've been giving him room. 48 BACK TO GORDY 48 In b.g., Mike, the veteran firefighter in Gordy's engine company, looks under the sheets with a cop. (CONTINUED) 15. 48 CONTINUED: 48 Junior puts a gentle hand on Gordy's shoulder. JUNIOR Gordy. Gordy looks up him, meets his eyes. JUNIOR Me and Mike are here. GORDY ... I was late... They shouldn't have been there... JUNIOR It's not your fault. GORDY I need to see them. Mike has walked up, lays a comforting hand on Gordy. MIKE No. You don't need to see 'em that way, Gordo. Junior spots a news camera crew focusing on Gordy's grief, calls at a cop. JUNIOR Get those goddamn people outta here! Phipps, approaching with Dray, addresses the same cop. PHIPPS Put that tape out fifty more feet. The cop begins moving the camera crew back. Phipps continues to Gordy. A Paramedic looks up at Mike. PARAMEDIC #1 He needs to go to the hospital. We can't take that glass out. MIKE If he's not bleeding to death, leave him. He's not moving till they do. (CONTINUED) 16. 48 CONTINUED: (2) 48 Phipps has heard and understands. To Dray, re: bodies -- PHIPPS Chalk 'em and move 'em. Dray goes. Phipps turns to Gordy and the two firefighters standing with him. Addresses Mike -- PHIPPS We gotta get on this quick. I need to talk to him. Beat. Mike nods. To Gordy -- PHIPPS Mr. Pitt, if you can you tell me... What'd you see? GORDY (looks up; beat) What'd I see? I saw my family die. Mike puts a restraining hand on Gordy. MIKE This guy didn't do the bombing, Gordo. He's just trying to get the people who did. Beat. Gordy eases up. Then, after a moment, defeated -- GORDY I didn't see anything except the explosion. Beat. Phipps sees that's all he's gonna get. PHIPPS I know this is hard. I'm sorry I had to bother you. Phipps goes. Gordy looks over as the bodies of Anne and Matt are placed on gurneys and rolled away. Chalk outlines are all that remain of his family. Beat. MIKE We're gonna roll you to the hospital now and get that glass out. 17. 49 ANGLE - PHIPPS 49 Walking back to the consulate. He approaches Brandt. PHIPPS Joe Phipps. F.B.I. Counter- terrorism task force. BRANDT Mike Brandt. PHIPPS What got this place blown up? BRANDT We'll have this discussion somewhere else more secure, after I get your clearance. PHIPPS Whatever it takes. But I got a bomber in the wind. I need everything you can give me, and I need it now. 50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50 Gordy's on a gurney on an I.V., his thigh heavily bandaged. Junior and the rookie, Ronnie, are with him, but there's no chatter -- Gordy's shut down, oblivious to everyone around him. ANOTHER ANGLE Mike is on a cell phone nearby as Sal, the other veteran from the engine company, enters and approaches him. Into the phone -- MIKE Hang on. Mike turns his attention to Sal, who's clearly blown away by the bad news that brought him here -- SAL Dammit... MIKE Tell me about it. SAL How's he holding up? (CONTINUED) 18. 50 CONTINUED: 50 MIKE He's shut down... We were hoping they'd keep him here, and he wouldn't have to go home right away, but they're cutting him loose. SAL Want me to stay at home with him? MIKE Rookie's taking the first shift. I'm just getting the schedule at the firehouse rearranged now. Mike goes back to the phone, and Sal crosses to Gordy. He puts a hand on Gordy's shoulder, grips it firmly. SAL Hey. Got here as fast as I could. Gordy sees him, but says nothing. SAL I know it sucks... It really sucks... Gordy can't go there. Beat. Sal releases his grip. SAL How's the leg? RONNIE Cut's deep, but no major vessels were severed. He's got a load 'o silk holding it all together. Junior, who stepped off to talk to a cop, now comes back. JUNIOR Just came over the police radio... Consulate surveillance cameras caught the bomber in the act. He was disguised as a cop. Gordy looks over. What Junior just said has triggered something. GORDY ... I saw him... I saw a cop. Gordy yanks out his I.V., and starts to get up. (CONTINUED) 19. 50 CONTINUED: (2) 50 SAL Christ. Gordy... But Gordy's already on his feet, already moving. GORDY I gotta help 'em get the bastard. 51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51 A well-lit, sectioned-off area of the garage secured by a chain-link fence. Phipps enters. As he passes Dray, already there -- PHIPPS How long before we have a secure computer network? DRAY An hour. They're building it now. Phipps moves to a FORENSIC EXPERT hovering over a table of small fragments. PHIPPS What do you got? FORENSIC EXPERT #1 Pieces of a pager oxidized with trace elements of Semtex. Probably the triggering device. They dial it up, probably from a cell phone, and boom... He picks up a microchip. FORENSIC EXPERT #1 ... This is the memory chip. I can build it into a working pager and maybe get a number readout. PHIPPS Do it. Phipps moves to the next work area, where another FORENSIC EXPERT studies video from a consulate surveillance camera. 20. 52 ON SCREEN 52 in super slow-mo, we see a cop -- the one who later bumped into Gordy -- in front of the consulate. His hat is pulled down over his eyes, almost concealing his tinted glasses. As the cop faces more toward the camera, the expert freeze-frames. To Phipps -- 53 FORENSIC EXPERT #2 53 FORENSIC EXPERT #2 That's as much face as we get. He was careful to duck the camera. PHIPPS Run a total analysis. I want to know if this asshole's right or left-handed. I want everything you can get outta this film. Phipps keeps moving, enters an eerie recreation of the blast site. Streets, buildings, etc. are marked out on the garage floor. Pieces of the Navigators rest in front of the area marked "consulate;" parts of an NYPD traffic scooter rest in front of the Navigators; "X's" mark where Anne and Matt were standing. Phipps crosses to another AGENT. PHIPPS Any helpful information coming outta Colombia? AGENT Not yet. Sat-Intel hasn't picked up any related data-traffic, either. Dray walks up. DRAY Gordon Pitt's here. He says he saw a cop at the scene. 54 SAME SCENE - LATER 54 Gordy, accompanied by Mike and Ronnie, sits in front of a video monitor. Phipps and Dray look on. 55 ON SCREEN 55 a police cart pulls up outside the consulate. (CONTINUED) 21. 55 CONTINUED: 55 PHIPPS The cart was stolen from the Central Park Precinct yesterday. The cop gets out of the scooter. GORDY That's him. That's the son of a bitch I bumped into. The cop tickets a vehicle, then walks west out of frame. PHIPPS The bomb's in the cart. 56 PHIPPS 56 reverses the video, freeze-frames on the cop. PHIPPS We think the bomb was triggered by a cell phone. The guy doesn't have one in his hands here. Did you see a cell phone when you ran into him? GORDY ... No. PHIPPS How much time passed between then and the explosion? GORDY ... Seconds... Five, ten... PHIPPS We think maybe he got into the brown Ford. You see him then? GORDY All I cared about was getting to my wife and boy. DRAY (to Phipps) Guy still had enough time to get out a phone and dial it in. (CONTINUED) 22. 56 CONTINUED: 56 PHIPPS (beat, then, by way of ending it) We might need to call you in again to look at some photos. Beat. Gordy looks back at the grainy image of the cop. GORDY ... I touched him... 57 EXT. CEMETERY - DAY 57 A bagpiper plays "Amazing Grace." REVEAL Gordy holding Matt's small coffin as Anne's is lowered into the ground. Gordy's men are around him, along with many other NYFD personnel, family and friends. A second bagpiper farther away in the cemetery, picks up the song, begins playing it in a round with the first. Matt's coffin is taken from Gordy. As it is lowered... A third bagpiper, farther away still, begins playing the song with the other two. One by one the first and second bagpipers finish their rounds, until there is just the third -- a haunting, mournful wail off into the distance. And then... There's only silence. 58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58 Gordy stands at an open closet door. He leans in, buries his face in Matt's clothes and smells them. Smells his son. 59 INT. LIVING ROOM - NIGHT 59 The TV is ON LOW, tuned to the NEWS. Gordy is alone, slumped in a chair. 60 NEWS ANCHOR 60 NEWS ANCHOR (V.O.) ... The bombing that left a mother and son dead and New York City numb took on a new dimension today when a notorious Latin American terrorist took credit for the attack. 23. 61 GORDY 61 has roused from his despondency, TURNS UP the VOLUME as the report (containing visuals) continues -- 62 NEWS ANCHOR 62 NEWS ANCHOR (V.O.) In an e-mail to the New York Times, a Marxist extremist known only as 'The Wolf,' states that the bombing was, quote, 'not an act of terror but an act of war, aimed at stopping your C.I.A. murderers and their fascist puppets from committing further acts of repression against the people of Colombia,' unquote... Two Colombian officials and an American military officer died in last Thursday's blast. Also killed were Anne Pitt, wife of a New York City firefighter, and their only child, four-year-old Matt... The President has vowed that the United States will avenge what he called 'this monstrous act of barbarism and cowardice'... Intelligence sources say the identity and whereabouts of The Wolf remain a mystery. They believe he has worked closely with radical elements in Latin America for more than twenty years and have linked him to numerous terrorist bombings, including the 1983 downing of a Peruvian airliner, which killed forty-two people, eleven of them Americans... The head of the Latin America Indigenous People's Committee, a group known to be sympathetic to the radicals in Colombia, talked to News Six in Queens. 63 GORDY 63 watches as Ephraim Ortiz-Dominguez a Latin man in his forties, comes on the screen. 24. 64 ORTIZ-DOMINGUEZ 64 ORTIZ-DOMINGUEZ (V.O.) I cannot speak for The Wolf or his actions. I would only repeat that the leftist guerrillas in Colombia are not terrorists but freedom fighters in a war being waged against them by the U.S. and Colombian governments. Governments who wish only to protect a system that lines the pockets of corrupt politicians and multi-national profiteers. (jump cut) The deaths of the woman and little boy are regrettable, but your government inflicts them all the time. Yugoslavia, Iraq... You call it 'collateral damage'... 65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 An FBI SURVEILLANCE TEAM has

onto

How many times the word 'onto' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

trial

How many times the word 'trial' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

suppliant

How many times the word 'suppliant' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

forehead

How many times the word 'forehead' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

feel

How many times the word 'feel' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

gently

How many times the word 'gently' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

shaken

How many times the word 'shaken' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

guidance

How many times the word 'guidance' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

call

How many times the word 'call' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

reservation

How many times the word 'reservation' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

lamps

How many times the word 'lamps' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

blows

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Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

tonight

How many times the word 'tonight' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

work

How many times the word 'work' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

necks

How many times the word 'necks' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

pergola

How many times the word 'pergola' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

compact

How many times the word 'compact' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

blankly

How many times the word 'blankly' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

lovely

How many times the word 'lovely' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

watches

How many times the word 'watches' appears in the text?

Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain. BETSY But for Wes -- it must be a temptation to him. HOLLAND I've no sympathy with people who can't resist temptation. BETSY Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it won't be long before he is. HOLLAND (coldly) I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother. They look at each other for a moment, then Betsy turns and walks off without a word. Holland turns to rejoin Bayard at the gate. DISSOLVE EXT. TERRACE -- DINING TABLE -- NIGHT It is a hot, windy night. The bushes in the garden move violently with the gusts of wind. Even protected as they are by the great glass hurricane lamps, the candle flames that light the table are agitated and stir restlessly. Tonight there are four people at dinner, Holland, Rand, Betsy, in a simple print dress, and Jessica, in a lovely evening gown that leaves her shoulders and arms bare. They have finished the first portion of their meal and Clement is taking off the soup plates. Somewhere off in the hills there is the ululating sounds of a great sea conch being blown. BETSY You don't seem very disturbed by it. I've always thought Voodoo was something to be scared of: the drums sounded in the hills and everybody was frightened. HOLLAND I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people. RAND For some reason, they always seem to pick a night like this. This wind even sets me on edge. He reaches out with his hand and then looks around the table. It is obvious something is missing. Both Betsy and Holland notice his half-gesture. Betsy glances at Holland. He smiles and nods. RAND (CONT'D) Clement. Clement, busy at the sideboard, looks around toward him. RAND (cont'd) You've forgotten the decanter. HOLLAND I think from now on, Wes, we'll try serving dinner without it. RAND Oh, I see. The lord of the manor has decided to abolish one of the tribal customs. Holland makes no answer. The conches blow wildly in the hills and a flurry of wind sweeps the garden. RAND (cont'd) An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us. Holland still keeps his silence, although the muscles in his jaw twitch. RAND (cont'd) What are you trying to do, impress her? HOLLAND Let's drop it now, Wes. We can talk about it later if you want. Rand glowers at him and makes no immediate answer. A great gust of wind blows across the garden. The candle flames level out in one direction and then the other. RAND But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul? HOLLAND (with a glance at Betsy) Let's not discuss it, Wes. The conches sound again in the hills, wildly and yet monotonously. RAND (with great sarcasm) Let's not quarrel before the ladies. Let's be reserved and gentlemanly. (jumping to his feet) You were so gentlemanly when you drove Jessica insane -- so polite when you made her into that! He subsides in his chair, shaken, entirely out of control. He doesn't look at Holland, nor at Betsy but at Jessica. They sit there for a moment in complete silence. Then Holland, obviously holding in his temper, rises and says: HOLLAND Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room. He turns and goes into the living room. Betsy also starts to rise. Rand still stares at Jessica. DISSOLVE INT. BETSY'S BEDROOM -- NIGHT The room is in darkness. Betsy stands leaning against one of the jalousies, looking out through the slit between two panels. Over the scene comes the sad, masculine sorrow of the Liebestod. It is being played well and forcefully on the piano in the living room. INT. LIVING ROOM -- NIGHT From her window Betsy can see Holland playing the piano. INT. BETSY'S BEDROOM -- NIGHT Betsy stands watching him. Then suddenly, as if compelled, she leaves the window, opens the jalousied door and goes quickly out into the garden. INT. LIVING ROOM -- NIGHT Holland is still playing. The sound of the door opening is heard. It startles him and he turns toward the sound. He sees Betsy and rises to face her as she steps into the room. BETSY I heard you playing. HOLLAND (trying to hide behind brittleness) I often do. BETSY (disregarding his remark) I know what you went through tonight. I kept thinking of what you said: that all good things died here, violently. HOLLAND Why did you come in here? BETSY I don't know. I wanted to help you. And now that I'm here, I don't know how. Holland comes close to her and looks down into her eyes. HOLLAND (with unexpected sincerity) You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal. BETSY (looking past him into the garden) I love Fort Holland. HOLLAND What you saw tonight -- two brothers at each other's throat and a woman driven mad by her own husband? Do you love that? BETSY You didn't drive her mad. HOLLAND Didn't I? I don't know. That's the simple truth of it. I don't know. Betsy shakes her head and moves closer to him. Her face, upturned to his, is filled with pity. HOLLAND (cont'd) Before Jessica was taken ill, there was a scene. An ugly scene. I told her I wouldn't let her go, that I'd hold her by force if necessary. Betsy puts her hand on his arm, in an instinctive gesture of sympathy and comfort. Holland looks down at her hand and then, searchingly, into her face. HOLLAND (cont'd) You wouldn't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful -- living in a world with room for nothing but her own image and her own desires. Betsy gently draws her hand away. She watches his face, lost in remembering. HOLLAND (cont'd) She promised so much -- warmth and sweetness...she promised -- In the hills the conches blow wildly, echoing and answering each other from every direction. For a brief moment, the noise is so loud Holland could not speak if he wanted to and then, when he can, and does, his voice has changed entirely. It is cold. It cuts between him and Betsy like a sword. HOLLAND (CONT'D) I think it may be best for all of us not to discuss this again. Thank you -- I know you meant to be kind. DISSOLVE EXT. FOUNTAIN -- NIGHT Betsy stands looking into the dark cistern. The wind still blows and the conches are sounding from the hills. But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds. The iron arrows in his breast glisten. BETSY (narrating) I don't know how their own love is revealed to other women -- maybe in their sweethearts' arms -- I don't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, "I love him." And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him -- to make her what she had been before -- to make him happy. As the narrator's voice ceases, the CAMERA HOLDS ON that small, silent figure before the fountain. FADE OUT FADE IN INT. MRS. HOLLAND'S BEDROOM -- DAY Jessica is seated before the triptych mirror, facing it blankly. At the other end of the room stand Betsy and Dr. Maxwell. Paul, his back to the window, faces them. HOLLAND All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife. DR. MAXWELL Insulin shock treatment is an extreme measure, Mr. Holland. But -- as Miss Connell pointed out when she suggested it -- this is an extreme case. HOLLAND (to Betsy) You admit that it is terribly dangerous. Why do you advise it? BETSY I've worked with it. I've seen cures. It is at least a hope. DR. MAXWELL It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill -- but it can also restore the damaged mind. HOLLAND I don't know -- I don't know-- DR. MAXWELL (sympathetically) It is a hard decision to make -- but yours is only a technical responsibility... HOLLAND Technical responsibility, real responsibility -- what difference does it make? (turns back to face them) Jessica lives -- or she dies. That's what we're talking about! Betsy turns and looks across the room to where Jessica sits motionless before the mirror. BETSY You are wrong, Mr. Holland. She turns back to face him. BETSY (cont'd) It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her. Holland stares at her. He turns to the window and stands for a moment with his back to the room. DISSOLVE OMITTED INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient. We hear the murmur of their voices although we cannot hear what they are saying. In the doorway itself, leaning against the wall looking toward the room expectantly, anxiously, is Holland, half hidden in the shadows of the arch. The shadows on the wall straighten up. We see Betsy in shadow drawing her hand wearily across her forehead. Still in shadow, she turns toward the door, her shadow grows enormous as she comes toward the source of light. As Betsy comes under the arch, Holland moves to meet her. She turns to him. HOLLAND (tensely) Well? BETSY She is alive, Mr. Holland -- that's all. There is a little pause. Then Betsy looks at Holland, her eyes glistening with tears. Betsy turns away slightly, closing her eyes for a moment to steady herself. Holland puts his hands on her shoulders and turns her back to face him. HOLLAND (gently) Don't take it to heart, Betsy. BETSY I imagined this so differently... Holland takes his hand from her shoulders. HOLLAND I've been waiting here for hours, trying to imagine Jessica well again -- wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, "Paul, darling..." The whole thing beginning all over again... BETSY (dully) And instead, I came -- bringing you nothing. HOLLAND (slowly looking down at her) Instead -- you come, with sympathy, Betsy, and a generous heart. Don't forget that. Don't call it nothing. Betsy turns wearily and returns to the sick room. Holland is about to follow her when he hears a low chuckle and turns to see who it is. INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY A few feet from Holland, leaning against the wall, is Rand. He has evidently been there some time. He is not drunk, but it is obvious he has been drinking. Holland walks down the short corridor toward him. RAND Very sad, very sweet. The noble husband and the noble nurse comforting each other -- because the patient still lives. I've been imagining too, Paul. You didn't think of that, did you? I saw Jessica coming across the garden, I heard her voice. THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA'S SISTER HAS VISITED WITH HER BABY. BETSY I suppose not. ALMA Things so bad, nobody can help -- not even Doctor Maxwell. BETSY Doctors and nurses can only do so much, Alma. They can't cure everything. ALMA Doctors that are people can't cure everything. BETSY (with a puzzled look) What do you mean -- "doctors that are people"? ALMA (slowly, almost sing-song) There are other doctors...Yes, other doctors...Better doctors... BETSY Where? ALMA At the Houmfort. BETSY (shaking off the idea) That's nonsense, Alma. ALMA They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back. BETSY You mean Mama Rose was like Mrs. Holland? ALMA No. She was mindless but not like Miss Jessica. But the Houngan cured her. BETSY Are you trying to tell me that the Houngan -- the voodoo priest -- could cure Mrs. Holland? ALMA Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa. The CAMERA MOVES IN to a CLOSE TWO SHOT of both women's faces, Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity. ALMA (CONT'D) (softly) Better doctors -- DISSOLVE INT. THE DISPENSARY - DAY This is a small, plainly furnished room with a plain table, a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf. Mrs. Rand is kneeling down at the side of the little, black pickaninny, rubbing ointment on a sore on his chest. Betsy, in street clothes, watcher her. Mrs. Rand finishes her work on the little boy's chest and begins to put his little shirt back on him. An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt. She holds it up so that the little boy can see it. MRS. RAND Ti-Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church? The little black boy looks at her with rolling eyes but does not answer. She gives him a playful pat on the behind, starting him on his way to the door. MRS. RAND (CONT'D) (to Betsy, cheerfully) Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours. BETSY You've never said anything about voodoo before, Mrs. Rand. MRS. RAND Haven't I? I suppose I take it for granted. It's just part of everyday life here. BETSY You don't believe in it? MRS. RAND A missionary's widow? It isn't very likely, is it? BETSY I don't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person? MRS. RAND (looking hard at Betsy for a moment) Frankly, my dear, I didn't expect anything like this from a nice level-headed girl. What are you driving at? BETSY I heard the servants talking about someone called Mama Rose. They said she had been "mindless"... MRS. RAND Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology. PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT EXT. THE HOUMFORT - NIGHT LONG SHOT. The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane. We see this voodoo temple as they go toward it. It is a rickety structure of poles and laths, roofed over with a thin thatch of sugar cane and straw. It forms a sort of rude pergola. In the center of this structure is a small, cubicle hut, made of rough boards but neatly whitewashed. From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies. (Please see pages 28 to 31, Life Magazine, December 13, 1937. All the details mentioned above are graphically illustrated, Near the little hut in the center of the Houmfort, stands an altar covered with a lace tablecloth and littered with a childish jumble of plates, candles, little colored stones and bottles. Before this altar stands the Houngan, the high priest of the voodoo ceremonies, a small, stoop-shouldered man in a worn, white coat and trousers with ragged cuffs. Several mild-looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees. Grouped around this altar in a loose semicircle are the worshippers, a group of mild-mannered, poorly-but-neatly-dressed negroes. They seem to have made an effort to dress in their best and their best is very poor indeed. As Betsy approaches, she can see familiar faces. As she comes up they turn and look at her. They are not hostile nor greatly surprised; just mildly curious. Leading Jessica by the hand, Betsy takes her place at one end of the semicircle around the altar. Her arrival has in no way interrupted the ceremonies. The Houngan continues to chant before the altar, the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals. It is all very decorous and decidedly religious in tone. No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax. The Sabreur, a colored man dressed in white shirt and trousers, with a neat dark tie knotted under his collar, comes in, bearing a sabre in his right hand, holding it in stately, almost processional manner. He advances to the altar, strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks, an essential part of this religious costume, come forward. One holds a white leghorn chicken and the other carries a white rooster. They come together to the altar and for a moment, the figures of the Houngan, the Sabreur and the two Mam-Lois hide the actual blood sacrifice from us. Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place. Instantly the drumming and the singing stops. A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking, crying out wordlessly. There is a cry from the people. THE PEOPLE Put the god in her! Put the god in her! The Houngan prances forward, followed by the Sabreur. The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it. He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy. He marks her forehead with four strange marks, one with each finger. The Sabreur, crying out the name of Shango, four times, points his sabre to the four directions of the compass. There is an immediate transformation in the girl. Her frenzy ceases. She seems to be filled with a jubilant calm and dances into the cleared space before the altar. Her words are no longer meaningless. They have taken shape and form and, when she speaks, she speaks with great resonance as if her voice came from somewhere other than her own throat. She is possessed by the god, Shango. One by one, people from among the group of devotees dance into the circle, go up to her and beg for favors. One woman leads a little boy up to her. We hear her words as she calls out to the possessed girl: WOMAN Make him rich, Shango! Make him rich! The girl lays her fingers on the boy's eyes, and then takes his shoulders and turns him around three times, Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian. The woman and her son retire happily, pleased and grinning. Finally, exhausted, the girl possessed of the god, Shango, sinks to her knees and then falls fainting to the floor. Two colored men come in, carry her away. A great cry rises from the voodoo worshippers. WORSHIPPERS Damballa! Damballa! Damballa! Damballa! The drums find a new rhythm. The Houngan retires to one corner of the altar; the Sabreur to the other. Two young girls, their beguine dresses slashed and torn, dance in from either side. This is a wild and an impassioned dance, a dance to Damballa. There is no singing, only an occasional call from the crowd, "Come to us, Damballa!" The dancers reach the climax of their dance and strike a plastic pose before the altar, each kneeling on one knee, their arms held to their breasts, their foreheads butted together. Although not a muscle moves, one can almost feel the tension of these two bodies. One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls. The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster. In this playing, as in the pose of the girls, there is tremendous tension. By now all cries have ceased. Everyone is silent, waiting. Then suddenly, from behind the closed and curiously painted door of the inner Houmfort, a voice speaks. A voice that is light, pleasant and authoritative. VOICE (muffled by the door) Where are my people? Let them bring me the rice cakes -- let them dance and be happy -- There is a great ecstatic shout from the voodoo worshippers. VOODOO WORSHIPPERS (shouting) Damballa! Damballa! The Sabreur dances forward, sword in his left hand and a little plate with rice cakes, in his right. He kneels down and places the plate near the door jamb. A line forms at the door. Betsy leading Jessica by the hand takes her place with the rest. She is third in the line of suppliants. She can see the whole procedure. The suppliant places his forehead against the forehead of the god painted on the door, and speaks. The first suppliant is a weary-looking field hand who shuffles to the door and speaks in such a low tone that his words cannot be heard. The second suppliant is an old woman, thin and work-worn. She speaks sincerely and humbly and Betsy, directly behind her, hears her words. OLD WOMAN Damballa -- my son don't take care of me. VOICE OF DAMBALLA Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him. The old woman turns away, comforted -- hopeful. Betsy looks at her. She can see tears in the old woman's eyes. With Jessica's hand in hers, Betsy takes her place at the door. She puts her forehead against the crudely painted forehead of the god. She talks to the door. BETSY Damballa! This woman is sick. The door swings open slowly. The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple. A hand reaches out from the darkness and takes Betsy's hand and draws her in. The Houngan follows Betsy into the temple. The door shuts behind him. Jessica remains outside, standing before the door. INT. INNER HOUMFORT - NIGHT A match flares and a hand brings it forward to light an oil lamp which flares brightly, revealing a little room of whitewashed boards, bare except for a table on which stands a small iron tripod from which an iron pot is suspended. Although there is no fire under the pot, the steam rises from this receptacle and water boils and bubbles in it. It is the Houngan who has lit the lamp and, on the other side of the table is Mrs. Rand. Her face is serious and unsmiling. BETSY (starting forward around the table) Mrs. Rand. MRS. RAND Wait. Don't draw any conclusions. Let me explain. BETSY But, Mrs. Rand -- MRS. RAND I knew you'd come. And I knew I'd have to come up here and talk to you. I couldn't let you go back without any word. I came to tell you again -- Jessica cannot be cured. BETSY But how did you get here? What are you doing here? MRS. RAND I asked you to let me explain. It's a long story. And not an easy one -- EXT. THE HOUMFORT - NIGHT Jessica stands patiently where Betsy had left her. The Sabreur and two Mam-Lois stand near her looking at her and talking. We cannot hear what they say. The drumming and the song of joy for the coming of Damballa continue over the scene. Suddenly, as if he had arrived at some decision, the Sabreur, holding his sword stiffly in front of him, starts toward Jessica with little mincing steps. INT. INNER HOUMFORT -- NIGHT Mrs. Rand, as if continuing with something she has been talking about for a long time -- MRS. RAND -- and when my husband died I felt helpless. They disobeyed me -- things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him. (pauses) Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby -- again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on. BETSY But you didn't have to come up here. MRS. RAND Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy. PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE DOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A "ZOMBIE". MRS. RAND (CONT'D) Betsy! Get her away -- back to the Fort! Do as I say -- they won't hurt you. ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy runs out from the doorway, takes hold of Jessica's arm and starts running with her. There is a movement in the crowd as if they were about to follow her. From the doorway of the inner Houmfort, the Houngan calls out: HOUNGAN Trouble. Bad trouble. Let her go. The crowd subsides. DISSOLVE EXT. THE BANYAN TREE -- NIGHT Betsy and Jessica pass quickly under the dead goat, on their way home. EXT. GARDEN AT FORT HOLLAND -- NIGHT Betsy comes out of the tower door, closing it behind her very quietly and cautiously. She starts across the garden toward her room. From the shadows, Holland steps out barring her way. HOLLAND Where have you been, Miss Connell? There is a pause. Holland stands looking at her, taking in her bedraggled appearance. BETSY (wearily) I wanted to help you. HOLLAND Help me? How? BETSY I took Mrs. Holland to the Houmfort. I thought they might cure her. HOLLAND You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it? BETSY (in a low tone) I told you. HOLLAND Because you wanted to give my wife back to me? Why should that mean anything to you? BETSY (not looking at him) You know why. You saw it the other night at the piano. You turned away from me. HOLLAND (putting his hand on her shoulder, looking into her face very closely) What I saw the other night, I didn't dare believe, Betsy -- Betsy tries to turn away from him. He grips her shoulders tightly. HOLLAND (cont'd) I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -- BETSY Yes. Holland pulls her close to him, looks down into her eyes. HOLLAND You think I love Jessica and want her back. It is like you to think that -- clean, decent thinking. BETSY (simply) She was beautiful. HOLLAND I hated her. Betsy looks up at him, astounded by his words. HOLLAND (cont'd) Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold -- but I never had a moment's peace or happiness with her. They stand there, close together, looking at each other. Suddenly Holland puts her arms around her. HOLLAND (cont'd) Betsy -- She lifts her face, with a smile of complete love and trust. Holland studies her face longingly, but does not kiss her. HOLLAND (cont'd) I should never have brought you here. BETSY There's no happiness for me anywhere else -- Holland shakes his head slowly, hopelessly. BETSY (cont'd) (pleading) Paul, I don't want you to be alone, unhappy -- Holland lets his arms drop from about her shoulders. HOLLAND (coldly) I may prefer it that way. They stand looking at each other. The garden

rose

How many times the word 'rose' appears in the text?